Class 

Book- 

GojpglitF 



I 



Art 0f ilagtr 




T. NELSON DOWNS. 



THE ART OF MAGIC 



t: nelson downs 

AUTHOR OF 
MODERN COIN MANIPULATION 



EDITED BY 

JOHN NORTHERN HILLIARD 



WITH 68 ILLUSTRATIONS 



PUBUSHED BY 

THE DOWNS-EDWARDS COMPANY 

BUFFALO, N.Y. 



LIBRARY of CONGRESS 
Two Copies Received 

Copyrisftt'i Entry 
yL^ss OU AXC No. 



K 



COPYRIGHT 1909 (r-^ 
THE DOWNS-EDWARDS COlvfpANY 
ENTERED AT STATIONERS' HALL, LONDON. ENG. 

PUBUSHED JANUARY. 1909 



To Dr. Albert M. Wilson, of Kansas 
City, Editor of The Sphinx," Col- 
lector of Magical Literature, and 
Lover of the Oldest Art in the 
World, whose Generous Assistance 
and Words of Encouragement have 
helped the Author, Editor and Pub- 
lishers over many difficulties, this 
Volume is Dedicated, 



CONTENTS 



CPIAPTER I. 

FLOUEISHES AND FANCY SLEIGHTS WITH CARDS. 

CHAPTER II. 

CAED TEICKS WITH UNPEEPAEED CAEDS AND NOT 
REQUIEING SLEIGHT 
OF HAND. 

CHAPTER III. 
CAED TEICKS INVOLVING SLEIGHT OF HAND. 

CHAPTER IV. 

SLEIGHT OF HAND WITH CAEDS (Coutiuued). 

CHAPTER V. 

' SLEIGHT OF HAND WITH CAEDS (Continued). 

CHAPTER VI. 

CAED TEICKS BASED ON A NEW AND OEIGINAL SYSTEM OF 
LOCATING A CHOSEN CAED. 

CHAPTER VII. 

CLAIEVOYANCE WITH CAEDS. 

CHAPTER VIII, 

A SEEIES OF CAED TEICKS BASED ON A NEW AND OEIGINAL 

SYSTEM. 

CHAPTER IX. 

THE EISING CAEDS. 



CONTENTS 



CHAPTER X. 

CARD TRICKS WITH APPARATUS AND IN COMBINATION WITH 
OTHER OBJECTS. 

CHAPTER XI. 

FANCY FLOURISHES WITH COINS, USEFUL SLEIGHTS AND 
ADDITIONS TO THE MISER'S DREAM. 

CHAPTER XII. 

COIN TRICKS WITH AND WITHOUT APPARATUS. 

CHAPTER XIII. 

A COIN ACT AND A COIN LADDER. 

CHAPTER XIV. 

TRICKS OF THE TRADE. 

CHAPTER XV. 

TRICKS WITH EGGS. 

CHAPTER XVI. 
TRICKS WITH BALLS. 

CHAPTER XVII. 
MISCELLANEOUS TRICKS. 



THE ART OB^ MAGIO 



INTRODUCTORY 

For the purpose of this book it will be convenient to divide 
magic into three branches: manual dexterity, mental subtleties 
and the surprising results produced by a judicious and artistic 
blending of the second and third branches. There are other 
branches, to be sure; but they are of little interest to modern 
students of the magic art. A century ago, and, indeed, as late 
as Robert-Houdin 's day, a general knowledge of the physical 
sciences was considered necessary to the equipment of the con- 
jurer or magician ; and the old writers on magic filled their pages 
with clumsy experiments in chemistry, physics, mechanics and 
mathematics. In order to be an original conjurer of the first 
magnitude, said Robert-Houdin, it is necessary to have more than 
a speaking acquaintance with the sciences, so as to apply their 
principles to the invention of illusions and stage tricks. Houdin 
himself utilized chemistry, optics and physics, while many O"*^ his 
greatest and most successful illusions were, based on the then 
little known science of electricity. Things have changed since 
Houdin 's day, however, and the art he practiced has taken many 
forward strides toward the goal of perfection. 

The modern conjurer is little inclined to base his magical 
effects on the expedients of physical science, but rather places 
his reliance on neatness of manipulation, on ingenious and inter- 
esting patter, and on a dexterity which, in many cases, seems tt) 
have been raised to its Nth power. It was the ' * Father of Modern 
Conjuring" who laid down this admirable rule: "To succeed 
as a conjurer, three things are essential : first, dexterity ; second, 
dexterity; and third, dexterity." Would not Robert-Houdin 
open his eyes in amazement could he return to earth and remark 

1 



The Art of Magic 

the advance made in dexterity and manipulation since his day? 
"I myself practiced palming long and perseveringly, " he tells 
us in his monumental worlc on conjuring, ' ' and acquired thereat 
a very considerable degree of skill. I used to be able to palm two 
five-franc pieces at once, thv3 hand nevertheless remaining as 
freety open as though it held nothing whatever. " He is a very 
ordinary performer who. in this age, cannot conceal a dozen or 
fifteen coins in his hand, and pluck them singly from the palm 
to produce in a fan at the finger tips; and there are several 
specialists in coin maninpulation who experience no difficulty in 
handling a larger number of coins, thinking nothing, for instance, 
of concealing from thirty-five to forty coins in the hand ; and, 
what is even more remarkable, executing the pass with this 
unstable stack as easily and indetectably as if they were handling 
three or four half-dollars. 

Magic has undergone many changes in the last quarter of a 
century. The devotees of the art have gone from one extreme to 
the other; from the simplicity of the school of Frickell to the 
cumbersome stage setting of Anderson, and from Anderson to 
Frickell again. The last decade was devoted to manipulation and 
specialization. Kings and emperors and dukes and panjam- 
drums of cards and coins, monarchs of eggs and handkerchiefs, 
czars of cabbages and billiard balls sprung up like mushrooms. 
Magic degenerated into a mere juggling performance. Dexterity 
was paramount and the psychological side of the art neglected. 
Mind gave way to matter. The conjurer aimed at novelty rather 
than entertainment. He ^'worked in one." to employ the vpr- 
nacular of the stage, and in most instances p:ave a silent act. Of 
course, there were exceptions. A few — a very few — performers 
presented a really artistic act with cards and coins; but as each 
clever performer had a host of bungling imitators the profession 
became overcrowded and vaudeville managers were ''not in'' 
when an engagement-seeking magician sent in his card. 

The cause of the overwhelming craze for manipulation was 
the discovery of the backhand palm, a sleight that has done more 
to initiate outsiders into the mysteries of magic than all the 
empirical magicians who have exposed tricks for the delectation 
of their audiences. As an ornamental sleisrht or flonri<^,h the 

Q 



The Art of Magic 

backhand palm with cards is au exquiste thing; but it is a frail 
foundation on which to build a card act. as many vaudeville 
performers have done. This is so because there is not a per- 
former living, no matter how skillful he may be in executing this 
particular sleight, who can operate near the front of a stage and 
succeed in mystifying his entire audience with the backhand 
manipulation of cards. The angle of visibility is against him, 
and dexterity counts for little when the performer is handi- 
capped by a law of optics. The spectators on the extreme right, 
or on the extreme left, as the case may be. inevitably catch occa- 
sional glimpses of the cards ; and thus not only is the illusion of 
the cards disappearing into thin air destroyed, but — and this is 
vastly more important — the illusion that magic is something 
more than mere rapidity of movement is destroyed. It should 
be more to the purpose of the magician that the mind of the 
spectator be deceived than his eye ; but the modern prestidigi- 
tator does not seem to realize this important distinction. 
Restricted, therefore, to a few — very few — manipulative move- 
ments, the backhand palm with cards is a decidedly effective 
addition to a magical programme, and we should advise every 
magician to become proficient in the sleight. But do not make 
this manipulation a dominating feature of the programme. 

"What has been said regarding the backhand palm with cards 
applies more or less to all flourishes and ornamental sleights. 
The performer is earnestly advised to curb the very natural 
desire to exploit his dexterity, or. in plain language, to ''show 
off." and to be sparing in exhibiting fancy movements. It is 
effective to introduce a flourish or ornamental sleight at odd 
moments between tricks, or while the assistant is performing 
some duty among the audience. Such little exhibitions of skill 
make a good impression on the audience, and as the movements 
are executed rapidly the spectators are both surprised and mysti- 
fied, ^lany persons who do not remember a single trick or 
illusion of the late Alexander Herrmann's programme will 
descant enthusiastically on the artistic manner in which he 
''shuffled cards with one hand." A certain foreign conjurer, 
who disguises himself under the attractive title of L 'Homme 
Ma^sque (<^f whoni wp shnll havo ninre 1'^ s^v) aptuelly shuffles 



The Art of Magic 

the cards with either the right or ieit hand; but it is an opera- 
tion that demands a large and powerful hand. To cite another 
example of the value of fancy sleights, how much more attractive 
Mr. Kellar's programme would have been, had he executed 
occasional flourishes with the cards! 

The magic of to-day, however, is not like the magic of yes- 
terday. The art of deception, like other arts, advances \vith 
every swing of the pendulum. Happily the mania for manipu- 
lation has abated, and the conjurer of the day is ambitious to 
entertain and mystify his audiences rather than to present a 
mere juggling act. One of the signs of the times is the revival 
of apparatus — not the cumbersome contraptions of Anderson 
find his followers, but the neat and attractive small things that 
add picturesqueness to the stage or drawing-room setting and 
do not detract from the mystery of the programme. This is as 
it should be. The ideal conjuring performance is a happy com- 
bination of apparatus and sleight of hand. 

As to the future of magic, we shall not venture a prediction. 
Our good friend Dr. Wilson looks forward to the day when elec- 
tricity shall become the nimble assistant and obedient servant of 
the worker of wonders: when the mysterious fluid will relegate 
strings, threads, pistons and such adventitious aids to the limbo 
of the obsolete : when it will open and close doors in cabinets, the 
lids of boxes, the traps in tables: and when by means of the 
counteracting forces of the positive and negative electro-magnet 
a body will be suspended in space after the manner of the tradi- 
tional levitation of the coffin of IMahomet at El Medinah. As a 
matter of fact, however, the coffin of the Prophet is not sus- 
pended in space; and. while we shall not take issue with Dr. 
Wilson's prediction, we believe that electricity is not reliable 
enough to act as the assistant to the modern magician, and also 
that when the positive and negative poles of an electro-magnet 
hold the human body in space some genius will have invented a 
machine capable of perpetual motion and some alchemist will 
have discovered the secret of transmitting the baser metals into 
gold. In such an age of real wonders mere magic will not be 
tolerated. 
4 



The Art of Magic 

But all this is beside the mark. What have we to do with 
the future? The present volume is designed to give an account 
of the latest novelties in the fascinating art of deception and the 
most up-to-date methods in the magic of cards, coins, handker- 
chiefs, eggs, billiard balls, and other accessories of the modern 
conjurer. The lion's share of the space is devoted to tricks with 
cards. Three reasons may be advanced for this preference: 
First, card conjuring is the most popular department of magic; 
second, a pack of cards is susceptible to more surprising effects 
than all the other accessories of the magician ; third, it has been 
many years since an elaborate treatise on cards has appeared. 
The author hopes that in the following pages the reader, be he 
amateur or professional, will find much to entertain and instruct. 
The explanations will presuppose an acquaintance with the ordi- 
nary sleights of the conjurer. When the book was first planned 
a chapter was devoted to new sleights with cards and coins and 
other small objects ; but in the actual working out of the volume 
it was found more practicable to explain each new sleight in the 
actual description of the trick in which the "move" was intro- 
duced. In the description of new and novel methods of per- 
forming old favorites, such as the Four Ace trick, the Rising 
Card trick, etc.. it has been deemed expedient to include refer- 
ences to standard works of conjuring in which the particular 
trick may be found, thus making the volume a valuable book of 
reference. Our heartiest thanks are due for much friendly assist- 
ance from correspondents in all quarters of the globe ; and if we 
have not given credit where credit is due, it is only because of 
the almost impossible task of fixing the parentage of a trick or 
illusion beyond reasonable doubt, 

T. Nelson Dow^ns. 

Author. 
J Northern Hilltard, 

Editor. 

Buit'aio, N. r.. October 1st, 1908. 



5 



CHAPTER I 



FLOURISHES AND FANCY SLEIGHTS WITH CARDS. 

The eftects described in this chapter belong naturally to the 
juggling order of sleight of hand, albeit they are none the less 
interesting for all that. Considering the recent craze for man- 
ipulation it is rather surprising that writers on magic have not 
made more of a specialty of this fascinating branch of the con- 
jurer's art. From the time of Robert-Houdin down to the 
present day the elucidators of the arts and artifices of the craft 
have contented themselves with describing such simple flourishes 
as springing the cards, throwing the cards, one-hand passes, and 
turning the cards over on a cloth-covered table. There are a 
score or more ornamental sleights, however, that have never been 
explained in a treatise on magic, and which may be made valua- 
ble, to the manipulator and the card magician. We say ''valua- 
ble" advisedly; for we do not believe in carrying manipulation 
and mere juggling dexterity to excess as many modern per- 
formers have done. But we earnestly advise the student to 
devote a modicum of hLs leisure moments to the acquirement of 
a series of fancy sleights and flourishes; for a mastery of these 
difficult movements will assist him materially in becoming profi- 
cient in the sleights. There is no limit to the degree of dexterity 
that can be attained by practice. In magic, as in other profes- 
sions or vocations, there is no royal road to proficiency. Excel- 
lence is attained only by long years of arduous endeavor. Prac- 
tice and practice only wiU bring the desired results. And after 
the desired degree of dexterity is attained the student should 
not, in the vanity of his achievement, exhibit his dexterity and 

7 



The Art of Magic 

boast of the rapidity with which he can execute the various 
movements. It is not quickness of the hand that deceives the 
eye, as the spectators so fondly imagine. The modern conjurer 
depends for success on a more adroit and more permanent 
foundation — psychology. The cunning hand works in harmony 
with the active mind, and by means of both mental and physical 
adroitness the spectators are deceived and mystified. The really 
expert performer, however, does not prattle of his dexterity. He 
lets art conceal art. This should be the motto of every earnest 
student and exponent of magic. 

This is the first treatise on the magic art in which a serious 
attempt has been made to collect and explain the various fancy 
movements with cards, and the student will find a variety of 
manipulations that, at first trial, he will consider impossible of 
achievement; but we hasten to assure the neophyte that nothing 
herein described is either impossible or impracticable. With the 
necessary practice even the most difficult drop catches with cards 
will, in time, become easy of achievement. Before entering upon 
our explanations, however, it will not be out of place to say a 
word or two concerning a very important consideration in con- 
juring, namely : i 

The Cards. — For superior work in manipulation, or in the 
presentation of tricks, good cards are necessary. Cheap cards 
are clumsy and difficult to handle with finished effect. ''The 
adept at sleight of hand should accustom himself to the use of 
every description of cards," was Professor Hoffmann's advice 
in "Modern Magic." When, however, the choice of cards is 
open to the performer, this authority recommended the use of 
smaller and thinner cards. Furthermore, the student was 
advised to use a piquet pack of thirty-two cards (the twos, threes, 
fours, fives and sixes being removed), the "complete whist pack 
being too bulky for sleight of hand purposes." This advice 
seems rather ahsurd in this day, for the twentieth century con- 
jurer prides himself on his ability to handle or manipulate any 
kind of card, and the "Juniors" and the ' Tankervilles " are 
relegated ro the limbo of the obsolete. While we believe in the 
facility to use any make or pattern of cards, it is our experience 
that there is one ideal card for conjuring purposes. We have 



The Art of Magic 

in mind the card known commonly as the ' ' Angel Back, ' ' which 
meets all the demands of card conjuring. These cards are strong, 
flexible, and highly polished. The student who is not accustomed 
to handling "Angel Backs" will find them rather difficult to 
manipulate at the outset; but with patience and perseverance 
the difficulty will be overcome. These cards come in two colors, 
red and blue. We advise the amateur conjurer to select cards 
with blue backs, for the reason that when a card is palmed there 
is not so much danger of a keen-eyed spectator catching a glimpse 
of its polished back in case there is a slight opening between the 
fingers. For backhand manipulation a cheap, uncalendered card 
is more desirable. The pasteboard known as the ' ' Steamboat, No. 
.999" is the best for this purpose. The card being soft and 
pliable does not ''talk" as it is shuttled between the fingers. 

The first flourish to be described is known in the vernacular 
of the card conjurer as 

The Card Fan. 

This is one of the elemental flourishes as well as one of tht^ 
simplest, for which reason it is passing strange that but compara- 
tively few performers accomplish the move with grace and 
artistic effect. The fan is made with a slight twisting movement 
of the fingers and thumb ; but, simple as it is, the movement is 
almost impossible to describe on paper. With practice it is 
astonishing how wide a fan can be made with one movement of 
the fingers and thumb. There are some performers who can 
almost describe a circle with the cards. The fan is used to 
excellent advantage in a movement that is known as the ''Vanish 
and Recovery." The cards are apparently placed in the left 
hand. In reality, however, they are palmed in the right. The 
right hand then produces the cards fanwise at the left elbow, 
or behind the right knee, while at the precise moment of produc- 
tion, the left hand is open and shown empty. The cards may also 
be produced from the inside of the coat, fanning them as they 
come into view. A good effect is produced by striking the skull 
with the left hand and immediately producing the cards from 
the nose, fanning them as usual. The fan method of production 
adds greatly to the effect, the fan leading the spectators to 

9 



The Art of Magic 

believe that it is impossible to conceal such a quantity of cards 
in the hand. It is also a good plan to produce cards from the 
backhand in a fan, the effect being that the performer actually 
plucks a half dozen or so cards out of the thin air. This move 
may be varied very effectively by producing the cards at the left 
heel. 

While on the subject of the "Vanish and Recovery" it will 
not be out of place to describe a simple and artistic method of 
vanishing a deck of cards and reproducing it from the vest. 
There are many ways of vanishing a complete pack, including 
divers kinds of mechanical clips and pulls which the amateur 
performer will do well to eschew — the professional will not use 
such contraptions anyway, so the advice will be lost on him — but 
the following sleight of hand method is the most startling and 
illusive. Hold the pack in the right hand face downward, the 
thumb at the lower end. the second, third and little fingers at 
the upper end, and the first finger curled on top of the pack. 
Now exert a slight pressure on the cards with the fingers and 
thumb, which will bend the cards in this position The left hand 
is now extended palm upward, and the right hand is held so that 
the upper part of the pack just touches the fingers of the left 
hand at exactly the first joints. The lower end of the pack, which 
is held by the thumb, is raised about an inch above the left palm. 
The lower edges of the cards are now allowed to spring from the 
thumb, one by one, causing a sharp, crackling sound as they 
strike against the left palm. The instant the last card leaves the 
right thumb the left hand is quickly reversed, so that its back is 
toward the audience. The cards are really in the palm of the 
left hand. This method of palming is simplicity itself, because, 
if tTie directions for the ruffle have been implicitly followed, the 
pack will lie in the left hand in exact position for palming, so 
that it is only necessary to contract the fingers slightly as the 
hand is turned over. All these separate movements have been 
described at length, but in actual practice they coalesce, the 
effect being that the left hand is reversed simultaneously with 
the riffling of the cards. The left hand is extended, back toward 
audience, the performer's eyes fixed intently on the back of the 
hand, the index finger of the right hand pointing at the extended 
10 



The Art of Magic 

left. Maintain this position for a moment. Then relax, smile 
pleasantly, and remark, "Oh, no! I would not deceive you in 
that way. The cards are really in the left hand." While 
speaking the left hand is slowly and deliberately turned over, 
and the cards revealed. The pack is now retaken in the right 
hand; exactly as described in the first movement, except that the 
cards are not curved. You now endeavor to imitate the first 
movement of placing the pack, with a riffling noise, into the left 
hand. This, however, is what you really do : As the right hand 
with the cards almost touches the left palm, instead of riffling 
the cards into the left palm, the fingers of the left hand grasp the 
deck, the left thumb in the exact center of one side, while the 
opposite side is grasped by the second, third and fourth fingers, 
the second finger being exactly opposite the thumb, while the 
little finger is at the lower end. The first finger of the left hand 
is curled under the pack. This position is important. The 
fingers of the right hand do not relax their grip on the cards. 
It will be remembered that in the first movement the right thumb 
produced the riffling noise. This time the left thuml) obtains the 
same effect by drawing its tip rapidly over the left-side edges of 
the cards, the left first finger, which is curled under the pack, 
acting as a fulcrum. Now, the instant the cards are riffled the 
right index finger (which is curled on top of deck) is straight- 
ened and the pack palmed in the right hand. If the directions 
are implicitly followed it will be found that when the first finger 
is straightened the pack is in the exact position for palming. The 
cards are, in fact, propelled briskly into the palm, and at the 
same instant the left hand is reversed and elevated as if contain- 
ing the cards. Care must be taken to hold the left hand exactly 
as at first, when the cards were actually palmed; and if the 
simulation is carried out (this effect should be practiced before 
a looking-glass) the illusion is perfect. The right hand may 
now grasp the lapel of the coat, or, better still, take the wand 
from under the left arm, and, touching 1?he left hand, show that 
the cards have vanished. The cards may be reproduced in any 
manner the performer prefers — from the left elbow, from behind 
the right knee, from the left heel, or from a spectator's whiskers 
or nose. The reproduction, it is unnecessary to add, should be in 

11 



The Art of Magic 

the form of a fan. Perhaps the most artistic method of repro- 
ducing a pack of cards, however, is from the vest ; and the 
effective and very simple sleight by which the cards are intro- 
duced under the garment has never been explained, to the best 
of our knowledge, in a treatise on magic. Hold the right hand 
against the abdomen and insert the thumb under the vest. Hold 
the thumb rigidly against the inside of vest and turn the hand 
over so that palm faces audience. The simple movement of turn- 
ing the hand introduces the cards under the vest, from which 
they may be slowly produced, a few at a time. 

The following is an effective vanish for a half dozen cards. 
The cards, which are first exhibited fanwise, are bunched together 
and held in the right hand, which makes a motion as if tossing 
the cards into the air, whereupon they vanish. The right hand 
is shown back and front, the fingers wide apart, and the cards 
are recovered back of the right knee. This effective sleight is 
accomplished by means of a minute piece of apparatus known as 
the "Excelsior Clip," which may be bought at any stationery 
store. This spring clip has two arms, one of them bent over in 
the form of a hook, and sharpened to a point, so that it can be 
hooked to any part of the clothing. The working of the sleight 
will now be clear. The cards are placed in a clip and fanned. 
The cards are then closed, and the right hand makes two up and 
down motions. When the hand goes down the second time the 
cards are hooked to the trousers back of the right knee. The 
hand of course must not hesitate an instant ; it is immediately 
brought up and the cards, apparently, are vanished in the 
upward movement. It makes an effective interlude in a card 
programme. 

Card Balancing. 

The reader undoubtedly is familiar with an old trick known 
as the balancing card, in which a pasteboard is made to stand 
apright on a table without any visible means of support. This 
effect is accomplished by the use of a very small and simple 
apparatus, a strip of tin or brass, an inch and a half in length, 
and five-eights of an inch in width, bent at a trifle less than a 
right anctie — say about eighty-five degrees, its shorter arm being 
12 



The Art of Magic 



one-third of its length. On the outer surface of the long arm is 
spread a thin layer of conjurer's wax, and to the inner surface of 
the shorter arm is soldered a small piece of lead, about an eighth 
of an inch thick. This little feke is pressed against the card in 
the act of' placing the card on the table and thus forms a prop, or 
foot, the little lump of lead acting as a counterpoise to the weight 
of the card. This is an old trick ( although a very good one and 
seldom seen nowadays) and the reason for referring to it is to 
introduce a new effect, namely, the balancing of an entire pack 
of cards on the fingers of the left hand. This trick is hardly of 
sufficient importance to be performed by itself: but as an inci- 
dent introduced in the coLirse of some more pretentious illusion 
produces a very good effect and serves to keep an audience inter- 
ested and on the qui vive. As a matter of fact, the success of a 
conjuring entertainment often depends upon the performer's 
ability in introducing minor tricks that suggest spontaneity. The 
following experiment is of this variety : Hold the pack in left 
hand and show both sides of the right hand so as to convince the 
audience that no mechanical device is employed. Then transfer 
the pack to the right hand in order to show that there is nothing 
concealed in the left hand. In returning the cards to the left 
hand insert little finger of left hand under three or four of the 
top cards. Once more show that the right hand is empty. Place 
pack on tips of fingers of right hand at back, as shown in Fig. 



1. and in executing this movement the cards above the little 
finger of the left hand are back-palmed into position between 
first and second fingers, as shown in at (B) in the illustration. 
This movement is completely covered by the left hand and the 
remainder of the cards. Do not prolong the effect, although some 
little time should be consumed in an effort to impress the specta- 
tors that the feat is extremely difficult to accomplish. In remov- 



A 




13 



The Art of Magic 

ing the pack all that is necessary is to relax the pressure on the 
backpalmed cards, allowing the pack (A) to fall on back of hand, 
the left hand immediately picking up the entire pack. If the 
performer desires he may hand the pack for examination, hut a 
more effective method of proving that the cards are unprepared is 

To Tear a Pack of Cards. 

There is no deception about this spectacular feat, although a 
certaiji knack in holding the cards must be acquired. To tear a 
deck of fifty-two playing cards in twain requres a strong wrist 
and a powerful grip. There is just one way to hold the cards. 
The lower end of the pack, which must be carefully squared up. 
is laid across the ridge of the left palm exactly at the roots of the 
four fingers, the left thumb resting naturally on the loAver left 
hand side of the pack. The four fingers are now closed tightly 
on the lower end of pack which has the effect of pressing the 
pack firmly against the left palm. The right hand now grasps 
the upper portion of the pack in exactly the same manner, only 
that the position is reversed, that is to say, the right thumb will 
be diametrically opposite the left thumb. These directions may 
seem a bit complicated, but they may be easily followed with a 
pack of cards in the hands. If the correct position is achieved 
it will be found that the cards are held as in a vise. Everything 
is now ready for the exhibition of strength. Twist the hands in 
opposite directions, the right hand turning to the right and the 
left hand to the left. Exert all your strength, and either your 
fingers or the deck will give way. At the outset you will find 
that the fingers cannot withstand the unusual strain, and for this 
reason it is wise to begin with thirty or thirty-five cards, grad- 
ually increasing the number until you can tear a whist pack. 
Cheap cards are easier to tear than the calendered variety, and 
a brand new pack is preferable to cards that are tough and 
leathery from much handling. It is related of the late Alexander 
Herrmann that after a private performance before the late Czar 
Nicholas II., his majesty, who was a very powerful 7nan. under- 
took to show the magician a card feat that the latter could not 
imitate. He picked up a pack of cards and tore it into two 
pieces. "T am the only one in the woi^ld who r^an pprforiTi that 
14 



The Art of Magic 

feat," boastingly declared the Czar. Herrman said nothing, but, 
picking up one of the halves of the deck, calmly tore it in twain. 
This feat looks very difficult, but is really little more difficult 
than the tearing of a whole pack of cards. Were Nicholas alive 
he would doubtless be amazed to learn that some performers 
actually tear two complete decks of cards, while Sandow, so we 
have heard, can put three decks together and rip the unwieldy 
bunch asunder in the middle. An effective method of presenting 
this feat is to tear a new deck of cards, case, wrapper and all. 
This is not much more difficult than the tearing of a pack, but 
the effect is greatly enhanced. 

The majority of spectators are skeptical about the ability of 
the amateur magician to tear a pack of cards. They are also 
prone to doubt the genuineness of the feat. They argue that the 
pack is spread in such a manner that the cards are torn one at a 
time. This explanation, of course, is absurd, but it is typical of 
the curious ideas sometimes conceived, by otherwise intelligent 
persons. The amateur performer will be repaid, therefore, by 
adding this feat to his repertory: for he will find in every com- 
pany some individual who has seen Kellar tear a pack, or who 
has heard his wife's cousin's uncle tell of having seen the great 
Herrmann perform the feat. They are duly impressed, therefore, 
when the modest amateur successfully destroys his deck. There 
is a way of ^'faking" the pack so as to make the feat easier, of 
accomplishment. The deck is screwed in a vise. A notch is filed 
in each side of the deck, exactly in the center. This cut will 
not be visible at a short distance. From our point of view, how- 
ever, the magician who would take advantage of this subterfuge 
would use an "Electric," or string pack, in order to impress the 
audience with his dexterity. 

The Fan and Eupfle. 

This movement is of the utmost simplicity, but its effect is out 
of all proportion to its intrinsic worth as a manipulatory move- 
ment. It may be used as a flourish or fancy sleight, or may be 
employed effectively as a false shuffle. The pack is held in the 
left hand, in the natural manner for dealing. The right hand is 
noAV brouerht to the top of the deck, and the left thumb spreads 

15 



The Art of Magic 

the cards in the form of a fan, the thumb and fingers of the 
right h(ind assisting in the movement. The right and left hands 
are then separated, each hand holding a half of the fan of cards, 
the faces of the cards toward the audience. The fan in the right 
hand is now brought directly in front of the cards in the left 
hand, so that the two fans touch. The performer now sweeps the 
fan of cards in the right hand briskly across the face of the 
cards fanned in the left, the cards giving forth a sharp, crackling 
sound. The instant the fan in the right hand is clear of the 
cards in the left hand the two packets are brought together and 
squared up. These separate movements, which are rather diffi- 
cult to describe, coalesce, so to speak, in actual practice, and the 
I'apidit}^ with which they are done deceives the audience into the 
belief that an intricate movement has been accomplished. It is 
rather discouraging to the clever manipulator of cards to dis- 
cover that his most elaborate movements, demanding ineffable 
skill and adroitness, should ''fall flat." so to speak, whereas a 
simple movement like the fan and ruffle will elicit enthusiastic 
comment and admiration. 

The Downs Fan. 

This is a bewildering move and is especiall}^ recommended as a 
brilliant opening to a series of front and back palm manipula- 
tions with cards. A good effect is also obtained by preceding this 
movement with the fan and ruffle just described. The effect of 
the flourish is as follows: The performer fans a pack of cards 
in his left hand (a movement, by the way that will not be accom- 
plished without some practice). He shows that his right hand is 
empty, back and front, and then produces a fan of cards from 
behind the right knee. This is how the flourish is accomplished: 




In the preliminary handling of the pack the performer palms a 



16 



The Art of Magic 

packet of cards in the right hand — a dozen cards is a good 
number for the experiment. He now fans the cards in the left 
hand, the right hand ostensibly assisting in the maneuver, Fig, 
2, but in reality leaving the palmed packet behind the fan, 
securely gripped between the first and second fingers, Fig. 3. 
The cards are held, of course, so that the fan conceals the packet, 
Fig. 4. The proper position is to face the audience squarely, the 
left hand, palm outwards, hanging in a line with the left knee. 
The right hand is thrust straight out from the body, fingers wide 
apart, and shown back and front, so as to convince the audience 
that nothing can possibl}^ be concealed in the hand. The per- 
former now strikes the faces of the fan with the tips of the right 
fingers, and repeats the movement on the back of the fan. As the 
right hand fingers move back of the fan, the packet, which is 
gripped between the first and second fingers of the left hand, is 




palmed off in the right hand. Fig. 5. The instant the cards are 
palmed in the right hand, the left hand turns over so that the 
back of the fan is presented toward the audience. The right 
hand, containing the palmed cards, now strikes the back of the 
fan. Once more the face of the fan is exhibited to the audience 
and is held, face outward at the left knee. A slight wavy motion 
is made with the fan toward the right knee, and at the same 
moment the right hand produces, fan wise, the palmed cards from 
the right knee, the effect being that a portion of the cards in 
the left hand passed invisibly through the performer's knees and 
thence into his right hand. The movements may seem compli- 
cated on paper, but a few trials will enable the student to assume 
the proper positions of the body, hands and cards. It is the 

17 



The Art of Magic 



minute attention to details that is responsible for the beauty of 
this illusory effect. 

Springing the Cards. 

This sleight, said Robert-Houdin, in his comprehensive 
volume on conjuring, is beyond question the most brilliant of all 
the flourishes performed with a pack of cards. The Father of 
Modem Magic" was acquainted with but one method of per- 
forming this fancy movement, however, and we suspect that the 
majority of his rivals in the conjuring art employed prepared 
cards to imitate the effect; for springing the cards requires a 
great deal of patient application before the knack is acquired. 
There are a number of methods of performing this flourish which 
are not commonly known to the magical fraternity, and which 
are here described for the first time in print. In the old method 
the cards are held in the right hand, between the tips of the 
second and third fingers at the top and the thumb at the bottom. 
The thumb and fingers are now brought slowly nearer together, 
so as to bend the cards slightly, when they will one by one, in 
quick succession, beginning with the bottom card, spring away 
from the pack. The left hand is held about a foot from the 
right, ^dth the fingers slightly bent, so as to catch the flying 
cards. The following methods, however, are more effective: 

First Method — This is practically the reverse of the method 
just described. It is of the utmost importance that the student 
should undersand at the outset the principle of holding the 
pack; for upon his accuracy in this matter depends his success 
in the series of the flourishes that follow. If the cards are held 
in the manner described for the old method the student will not 
be able to accomplish the new effects. The exact method of 
holding the pack is difficult to describe, but if the reader will 
follow the directions pack in hand he will soon acquire the knack. 
Extend the fingers and thumb of the right hand as far as pos- 
sible, so that the hand is almost flat. The left hand now places 
the pack against the right hand exactly as follows : The middle 
of the top end of the pack is placed against the second joint of 
the second finger, while the corresponding part of the lower end 
is placed against the joint of the thumb. If the thumb and 
18 



The Art of Magic 

second finger are now brought slowly together, so as to bend the 
cards slightly, at the same time allowing the lower end of the 
cards to slip gradually to the very tip of the thumb, and the 
top end of the cards to slip to the tip of the second finger, the 
pack will describe a curve. As a result of the slipping movement 
each card is slightly separated from the other, the greatest space 
being at the center. Now, instead of bending the fingers so 
sharply that the cards will shoot into the air, as in the old 
method, the pressure of the tips of the thumb and second finger 
should be gently relaxed, which allows the cards to fall (begin- 
ning with the bottom card), and at the same moment, the right 
hand describes a rapid sweep upward, the left hand following at 
a distance of ten or twelve inches. Just before making this 
upward sweep the right hand is held about waist high, the left 
hand, palm upward, just below the right. As a matter of fact, 
a half dozen cards actually fall from the right into the left hand 
before the right begins its upward sweep. After a little practice 
the student will be able to time the separation of the hands to a 
nicety. The hands should describe a sweep of at least two feet, 
and at the conclusion of the movement the left should be brought 
palm to palm with the right, the cards being instantly squared 
up. During the instant the cards are in the air there is a dis- 
tance of about an eighth of an inch between each card, the effect 
being as if the performer were drawing out an accordeon. This 
beautiful and striking effect cannot be duplicated by the old 
method of springing cards. We shall now describe a novel flour- 
ish w^hich we are confident will be appreciated by the conjuring 
fraternity. 

Second Method — This is more effective if anything than the 
flourish just described. The cards are held in exactly the same 
manner, but the position of the hand is different. Instead of 
the pack being held so that the bottom card faces the floor, as in 
the first method, the right wrist is turned slightly so that the 
right side of the pack is parallel with the floor. The left hand is 
held palm upward, and the lower side of the pack is allowed just 
to touch the extended fingers of the left. The cards are now 
allowed to escape one by one, beginning with the front card, and 

19 



The Art of Magic 



at the instant the first card is released the right hand moves 
upward in a straight line, to a distance of two feet or thirty 
inches, Fig. 6. The effect is that of a ribbon of cards. During 



the operation the left hand, palm upward, remains absolutely 
stationary. When the right hand reaches its highest point, it 
remains in that position for a fraction of a moment; then, while 
the cards remain like a ribbon in the air, the right hand swoops 
down, gathering the cards in its descent, and the two hands come 
together with a sharp report, and the cards are squared. Perfec- 
tion in this sleight, which may be attained with reasonable prac- 
tice, consists in the ribbon of cards being unbroken, and in the 
cards falling evenly into the left hand, so that when the right 
palm strikes the left the cards are squared. The reader is advised 
to practice only the releasing movement at first, the right hand 
remaining stationary. As perfection is acquired in this impor- 
tant movement, the right hand may be raised a few inches during 
the operation, increasing the distance gradually. Particular 
stress is laid upon the necessity of the right hand moving upward 
in a perfectl}^ straight line. Otherwise the ribbon of cards will 
not be even, which detracts from the effect. Instead of holding 





Fig. 6 



20 



The Art of Magic 

the thumb and second finger of the right hand at the exact center 
of the two ends of the pack, as directed in the first method, the 
performer may find the flourish more easily acquired by placing 
the second finger at the upper right corner of the pack and the 
thumb at the corresponding upper left corner. This is a mere 
detail, however, and the student is advised to experiment with 
both positions, and to adopt the method that gives the best 
results. 

Third Method— This is a variation of the second method. 
The effect is the same, but instead of the cards being held end- 
ways between the thumb and second finger of the right hand, 
the pack is held sideways, so that in the upward movement the 
cards are ribboned lengthwise. As explained in the second 
method, the finger and thumb may grasp the pack at the middle 
or at the top. The author prefers the latter position. The 
student will find this variation much more difficult than the 
second method, as it requires assiduous practice to keep the 
ribbon from breaking. When this movement has been mastered 
the reader will be ready to try his hand at what the writers 
regard as the most sensational and difficult of all flourishes or 
fancy sleights with cards. 

THE ONE HAND DROP. 

First Method — This spectacular effect may be described in a 
few words, but it will require many weeks of hard practice before 
it is mastered. The effect is shown in Pig. 7. Hold the cards in 
the manner described in the first method of springing the cards. 
Extend the arm in front of the body, straight from the shoulder. 
Now let the cards drop toward the floor, releasing them one at 
at a time. The right hand moves slightly upward at the same 
time, say about five or six inches. When the last card has fallen 
the right hand descends swiftly, catching the cards in its down- 
ward movement, and, if the flourish has been perfectly executed, 
the last card — or what was the first card released — will be caught 
as it is about to touch the floor. The effect of this flourish is 
indescribable in words. There is a knack about releasing the 

21 



The Art of Magic 

cards that cannot be explained, but which will be acquired by 
practice. Failure will be the reward of the student for many 
weary days, and when about to give up in despair the knack will 
suddenly be attained. It is not possible for even the most expert 
performer to catch all the cards every time. From personal 
experience the writer can say that on an average the flourish is 




1:5. 



Fig. 7 

executed perfectly once out of three times. As a rule the per- 
former is successful in the first attempt. If this is the happy 
result during a public performance, it is the part of wisdom for 
the performer to rest on his laurels and resist the temptation to 
show his skill a second time. If, however, he is sufficiently expert 
in this kind of manipulation he may respond to the encore 
with the 

Second Method. — In this method the pack is held with the 
lower side parallel to the floor, as described in the second method 
for springing the cards. The cards are dropped ribbonwise, the 
faces toward the audience\ The right hand catches the cards in 
much the same manner as described in the preceding sleight. 
This is even more brilliant in effect than the first method, and is 
correspondingly more difficult. 
22 



The Art of Magic 
THE CARDS ON THE ARM. 
A favorite flourish with expert card manipulators is running 
the cards up the arm, from the finger tips to the elbow, and, by 
a slight contraction of the fingers of the left hand, causing the 
cards to turn over. It is an effective sleight, and not difficult of 
execution, although some little practice is necessary before the 
cards can be spread neatl}'' and evenly along the arm. It is 
rather surprising, considering the popularity of this pretty 
sleight, that it has not been explained in any v^ork of magic 
known to the writer. The secret of the successful execution of 
this sleight is in holding the cards. The pack is bent slightly 
downward by the thumb and second finger of the right hand, the 
thumb at the lower end and the second finger at the upper end. 
Extend the left arm and hand, either palm upwards or down- 
ward, as the performer may elect. Beginning at the very tips of 
the fingers of the left hand, the cards in the right nan (J are 
released, one at a time, the right hand at the same time sweeping 
up the left arm. It is important to remember that the cards 
are released by the*" fingers only. This manouvre will leave the 
cards spread from the tips of the left fingers to the elbow, or 
even beyond it. As a matter of fact the first card or two should 
overlap the left fingers about an inch. Now by quickly contract- 
ing the two middle fingers toward the palm, the whole row of 
cards will be reversed in a spectacular fashion. There are several 
ways of terminating this flourish. One popular method consists 
in simply dropping the left arm to the side, the result being that 
the cards fall neatly into the left pslm. Other performers reverse 
the cards in such a manner that instead of falling on the arm 
they drop into the right hand, which is held for this purpose just 
under the left elbow. In order to secure this effect, the left 
forearm revolvos slightly to the right at the very moment the 
cards are being reversed. This causes the cards to tumble like a 
water-fall into the right hand. The effect is pretty. Another 
effective method is as follows : Just as the cards, in the process 
of reversing, are about to fall on the arm, the right hand passing 
under the first falling card — that is, the card at the elbow, 

23 



The Art of Magic 

catclies it on the extended right thumb. The right hand then 
sweeps toward the left palm, the result being that the cards are 
once more reversed and fall into the left hand, where they should 
be immediately squared, so that the flourish may be repeated if 
desired. Another very pretty finish is to catch the falling cards 
at the elbow, on the right thumb, as just described, when the left 
forearm is allowed to drop from under the bridge of cards, all 
of which are caught by a swift forward dart of the right hand. 
The fact that the cards are lapped makes this movement easy 
of accomplishment. It may not be out of place to describe a 
slight variation of this popular flourish. Instead of the cards 
being riffled on the left arm, they are spread on the wand, or 
cane, held in the left hand. One end of the stick is held in the 
palm of the left hand by the third and fourth fingers. The first 
and second fingers are extended, serving as an additional sup- 
port. The cards are held in the same position as for spreading 
the cards on the arm, but the work of releasing them is done by 
the thumb instead of the fingers. Beginning at the inner end of 
the wand, the first three or foi^r cards slipped by the thumb are 
gripped by the left thumb pressing them against the stick. It is 
now a simple matter to lap the cards to the end of the wand. 
The flourish may be terminated in two ways, either by throwing 
the lapped cards into the air and catching them in the right 
hand, after the manner just explained, or the stick may be tilted 
slightly upward, when the cards will slip back into the left hand. 

A SERIES OP FANCY FLOURISHES. 
The following series of fancy flourishes with cards was origi- 
nated by the author of this book, and this is the first time it 
has been explained in print. The series is really an adaptation 
of the riffle on the arm. Begin by riffling the cards on the left 
arm, as already described, throwing the lapped cards into the air 
and catching them in the right hand. Repeat by spreading the 
cards on the right arm, and catching the cards in the left hand. 
Now spread the cards on the back of the right forearm, which is 
held rigid. An upward movement is made with the right arm, 
the lapped cards are thrown into the air. Instead of catching 
24 



The Art of Magic 

them in the left hand, the right arm is drawn swiftly back and 
darts forward again, catching the cards before they have an 
opportunity to separate. In catching the cards the fingers and 
thumb of the right hand are extended in a V shape, and, as the 
cards are Japped, it follows that if the first card is caught a 
straight forward movement will gather in the rest of the cards. 
Spread the cards on the back of the right arm again. Toss them 
into the air, but instead of catching them, quickly turn the right 
forearm palm and wrist upward and allow the bridge of cards 
to fall on this side of the arm. A slight sinking movement of the 
forearm when the cards strike it will prevent them from being 
disarranged. Now contract the second and third fingers of the 
right hand which will turn over the whole line of cards, and the 
moment they fall reversed on the arm, throw the bridge of cards 
into the air and draw back the right arm, turning it over at the 
same time, and catch the cards as already described. These 
movements should follow one another quickly, the five being 
performed within the space of twenty seconds. This series of 
movements is more in the nature of juggling than conjuring, but 
it forms a brilliant interlude to a series of card tricks. 

THE FLOWER OF CARDS. 

The fiourish bearing this rather Oriental title is contributed 
by a valued correspondent, the Yogi Girindrashekhar, of Cal- 
cutta, India, and the effect is really very pretty and startling 
to the uninitiated. You simply hold the pack between the finger 
and thumb of the right hand, give the hand a gentle shake, and 
the cards at once assume the shape of a spiked-shaped fan. 

To produce this effect, divide the pack into two equal por- 
tions, and bend each half in opposite directions, so that when 
placed in position the cards will be ''bridged," the opening 
between the two halves being exaggerated. Now arrange the 
cards in pairs, one from the top and one from the bottom, and 
place these one above the other. In a complete pack there will 
be twenty-six such pairs, each having the appearance of a bridge. 
Now press the cards quite flat with the fingers and thumb and 
the pack will assume its normal appearance. Hold the deck as 

25 



The Art of Magic 

directed above and release the pressure. The cards, on account 
of their elasticity, will regain their curved form and arrange 
themselves fanwise, the flourish having all the hallmarks of a 
feat of genuine dexterity. In order to hand the cards for exam- 
ination, bend them slightly backward and forward and give 
them a riffle shuffle, after which they will tell no tale. 

THROWING CARDS. 
This is one of the oldest of the ornamental sleights, and as 
every conjurer, even the veriest type, understands how to propel 
a card through the air (although the number of professional 
conjurers who can throw cards with accuracy and grace to any 
distance may be counted on the fingers of one hand) we should 
not refer to it except for the laudable purpose of acquainting 
the reader with a pretty variation of this sleight, the invention, 
we believe, of the celebrated French juggler and hand shadowist, 
M. Felicien Trewey, who makes a most mysterious card trick 
out of the flourish, an effect that will be described in due course 
in the department devoted to sleight of hand tricks with cards. 
Hold the pack in the left hand, as if for dealing, the thumb 
across the center of the top and the four fingers grasping the 
outer edge. Toss a card into the air, at any distance from ten to 
thirty feet, giving it a strong reverse twist, which causes the 
card, after it has exhausted its initial momentum, to return 
toward the performer. As the card falls, revolving rapidly in 
its flight, separate the pack at the outer edge with the four 
fingers of the left hand, by simply pressing the fingers down- 
ward. This leaves a wedge-shaped opening into which the card 
is allowed to fall. As the left hand is held high in the air, and 
the wedge-shaped opening being toward the ceiling, the audience, 
of course, cannot see the break in the pack, and the sight of a 
card suddenly darting into the pack, like a homing pigeon into 
its eyrie, is pretty and effective. A skilled performer can propel 
a card at a surprising distance over the heads of his audience, 
and by reverse "english," so to speak, cause it to return to his 
hand. An effective variation is to throw a card high into the 
air, and, when it returns toward the performer, to seize a pair 
26 



The Art of Magic 

of scissors with the right hand and cut the whirling card in 
twain. Before throwing the card hold the scissors in the left 
hand, underneath the pack. Another pretty method is to toss the 
card into the air, and, when it returns, gracefully catch it be- 
tween the thumb and first finger of the right hand. This may 
be followed by a more elaborate and more difficult flourish. Lay 
the pack on the table, taking two cards in the right hand, hold- 
ing them as one. Now throw the double card into the air, giving 
it the reverse "english." The cards will remain together on 
their upward and outward movement, but the instant they 
begin their backward flight they will separate and whirl in dif- 
ferent directions. With practice the performer will be able to 
catch one card in the right and the other in the left hand. The 
regulation method for throwing cards is to hold them lightly 
between the first and second fingers at the upper end. The hand 
should be curved toward the wrist and then straightened with a 
sudden jerk. In order to communicate a reverse movement to 
the card the hand is jerked back toward the performer at the 
precise moment the card leaves the tips of the first and second 
fingers. Knack rather than strength is the secret of the sleight. 

CARDS FROM THE LIOUTH. 
This easy sleight has a stupendous effect upon the imagina- 
tion of the average spectator, and it certainly is startling to see 
six cards pulled from the mouth, one after another. The produc- 
tion of any small object from the mouth, an egg or a billiard 
ball, is effective ; but the mind cannot conceive how it is possible 
to conceal a playing card in the mouth, to say nothing of stow- 
ing away six pasteboards in that useful member of the physical 
economy of man. Six cards are used for the sleight. Vanish 
them in any manner that is most convenient. We prefer back- 
palming, reversing the hand so that the face of the cards are 
toward the palm. Now move the right hand toward the mouth. 
Quickly insert the end of cards in mouth. In removing the 
cards the uppermost one is first drawn off' with the right hand 
assisted by the left hand which eventually secures the first three 
cards, as illustrated in Fig. 8. The second three cards are now 

27 



The Art of Magic 

drawn off one by one and secured in the right hand in a similar 
manner. The general effect at the conclusion of the sleight 
is shown in the illustration. Drawing the cards down, one by 
one, gives the effect of actually pulling them from the interior of 




Fig. 8 

the mouth. If the head be slightly tilted back, and the mouth 
opened rather widety, the effect will be enhanced. We cannot 
urge too strongly the acquirement of this effective move. It can 
be introduced to advantage in the well-known trick of the cards 
passing up the sleeve and into the pocket of the performer. 



28 



CHAPTER II. 



CARD TRICKS WITH UNPREPARED CARDS AND NOT 
REQUIRING SLEIGHT OF HAND. 

There are many excellent tricks with cards that require 
little or no dexterity of movement, but which, presented with 
appropriate patter, are as effective as many of the more elab- 
orate effects demanding a mastery of sleight of hand. It is not 
always easy to determine the exact classification of a card trick; 
for the skillful performer, by introducing a pass or palm or false 
shuffle, will often transform a simple trick into a bewildering 
illusion. We shall begin this chapter by describing a number of 
new and novel methods of discovering a chosen card. 

First Method. — This is subtle and indetectable. In offering 
the pack in the usual manner for a spectator to select a card, 
secretly keep count of a number of the top cards while you are 
spreading the pack from the left to the right hand. A good 
number to keep track of is ten. As soon as the spectator has 
made his selection, close up the pack, keeping the little finger 
between the ten cards and the remainder of the deck. Request 
the drawer to replace his card, lifting the packet of ten cards off 
the deck with the right hand, allowing the spectator to replace 
his card on top of the packet in the left hand. You now delib- 
erately replace the packet of ten cards on top of the deck in left 
hand, squaring up the cards. The effect to the audience is that 
the drawn card is hopelessly lost in the pack. The performer 
knows, howevei*. that it is the eleventh card. It is now essential 
to get possession of this eleventh card, or to reveal it in some 

29 



The Art of Magic 

magical manner. This is accomplished by means of the con- 
ventional, overhand shuffle, as follows: Hold the deck in the 
left palm, in the manner for the ordinary overhand shuffle, but 
a triflle more diagonally, so that the first finger from the second 
joint lies up against the outer end and the first joint of the little 
finger is slightly curled up against the bottom, with the thumb 
resting on the top, near the outer end, about the middle. This po- 
sition is important, and we advise the student to acquire it at the 
outset, for the shuffle will prove very valuable at times to the ma- 
gician, inasmuch as it can be used either for the purpose of dis- 
covering a drawn card or for a false shuffle. The drawn card is, 
you will remember, the eleventh from the top. The right hand 
seizes the pack at the ends between the thumb and second and 
third fingers, the first finger resting lightly on the upper side. 
Now in the process of shuffling you draw off one card at a time, 
the left thumb pressing lightly on the top card, the right hand 
maldiig the shuffling movement. When ten cards have been drawn 
off in the manner described, you "jog" the eleventh, or selected, 
card. By "jog" is meant a card protruding from any part of the 
deck about a quarter of an inch. The "jog" is made in this case 
by simply shifting the right hand slightly toward the left wrist, 
when the card will protrude a little over the eiid of the left-hand 
packet and over the tip of the little finger. There should be no 
hesitation in making this "jog." but continue shuffling the 
remainder of the cards from the right hand onto the left-hand 
packet. When the shuffle is complete, the protruding card will 
mark the location of the drawn card. All that is necessary now 
is to cut the pack at the protruding card and shuffle off on top 
of left-hand packet, which leaves the drawn card at the bottom 
of the pack. It can now be discovered in any fashion the magi- 
cian may desire. By continuing the ordinary shuffle the card 
may be brought to the top. It will be marked that this method 
of shuffling does away with the pass, for which reason it is a 
valuable variation to the conventional method of obtaining pos- 
session of a drawn card. This method may also be used as a 
false shuffle. Bv means of the "jog" the operator will experi- 
30 



The Art of Magic 

ence no difficulty in keeping track of any number of cards that 
have been brought to the top of the deck. 

Second I\Jethod, — When the spectator returns his card to 
the pack, which is held fanwise, the lower right hand corner of 
the card is sharply bent between the second and third fingers of 
the right hand. As these fingers are under the pack this opera- 
tion is not observed. The pack is squared and handed to a spec- 
tator for shuffling. When the deck is returned the conjurer can 
instantly discover the chosen card by glacning at the edge of the 
pack. This is a simple but often very useful method of discov- 
ering a card. 

Third ]\Iethod. — In the act of opening the pack for the 
reception of the drawn card, the fingers of the right hand draw 
the bottoin card of the pack, which has been previously noted, to 
the right. Now. wherever the drawn card may be replaced, the 
performer mererly l)reaks the pack at that spot. In closing up 
the pack this bottom, or key, card, is on top of the drawn card, 
and the trick is concluded according to the fancy of the conjurer. 

Fourth IMethod. — (To discover a card mentally selected). 
Allow pack to be shuffled by spectator and request him to deal 
four cards face upward on the table. As he does so the per- 
former spreads them so that there is a space of at least six inches 
between each card. Ask a s[)ectator to select mentally one of the 
cards, and if you follow the direction of his gaze you can, after 
a little practice, invariably hit upon the selected card. You 
should present this as a genuine mind-reading test, in which case 
you will have a legitimate excuse for failure. A performer may 
gracefully fail in a "mind-reading" experiment, but he must 
always succeed in a trick. In another part of this book will be 
desci'ibed an elaboration of this simple effect, in which the con- 
tingency of failure is so carefully provided against that no 
matter what card is mentally chosen the performer will bring 
his trick to a successful conclusion. 

Having discovered a chosen card, by one of the methods 
described, or br any method within the student's knowledge, 

31 



The Art of Magic 

it behooves him to produce the pasteboard in a magical manner. 
He would be a very lame performer who would simply take a 
card off the pack and hand it to a spectator with the remark, 
''Here's your card." There are a number of old and more or 
less effective methods of revealing a chosen card, all of which 
are fully described in the familiar works on conjuring, such as 
the revolution, nailing a card to the wall, thromng the pack into 
the air and catching the chosen card, and knocking a pack out of 
a spectator's hand, he retaining the chosen card between the 
thumb and fingers. We shall describe one or two new methods 
of concluding a card trick and mention an improvement on one 
or two of the old methods. The first one we shall describe is an 
improvement on a very old trick, but which, nevertheless, is one 
of the most effective of the impromptu class of card effects. 

First Method. — In this method a chosen card is attached 
to the ceiling. As the reader is familiar with the old method of 
attaching a card to a door or wainscoting by means of a tack, we 
shall describe only the improved method. After the chosen carCb 
has been located by any of the foregoing methods, and brought 
on top of the pack, stick a small piece of chewing gum on the 
center of the card. Draw attention to the bottom card and ask 
if it is the card selected. The answer, of course, will be *'no." 
Now take off the two top cards, holding them as one card. 
Repeat the same question, and the answer will also be in the 
negative. Replace the cards and toss the pack to the ceiling. 
The impact will force the gummed card against the ceiling, while 
the others will fall to the floor. Some little practice is necessary 
in order to throw the pack so that it will strike flat against the 
ceiling, while the others will fall to the floor. Use a sticky gum 
of the rubber variety. 

Second ]\Iethod — This trick, which is known as "The Test 
of Nerve," is also an old standbj^, but as an impromptu it is 
more effective than many modern feats. The drawn card is 
brought to the top in any manner that the performer desires. 
Now request the drawer to hold the pack face upward, the 
thumb on the face of the pack at one end, the fingers below. 
32 



The Art of Magic. 

The thumb must not project more than half an inch over the 
face of the cards, while the fingers, on the contrary, should have 
at least an inch of hold. Request the spectator to grip the cards 
tightly, and then give the pack a smart blow with the wand or 
hand. All the cards but one will fall to the ground, the one 
being the selected card, which, much to the surprise of the 
spectator, stares him in the face. The effect of this trick can be 
enhanced at least seventy-five per cent, by recourse to the ex- 
pedient described in the first method, that of calling attention 
to the bottom card and then removing the two top cards, exhibit- 
ing them as one, and calling particular attention to the fact that 
neither the bottom nor the top card is the selected one. This little 
ruse completely baffles the "wise" person who thinks he knows 
all there is to know of the magic art, and in our own experience 
this subterfuge has on more than one occasion mystified excep- 
tionally well-informed performers. ''How was the card brought 
to the top of the pack?" they asked in surprise. 

Third Method — This is an effective and novel finish to 
a card trick, which will be new to most readers, as, to the best 
of our knowledge, it has never appeared in print. After the 
card has been brought to the top give the pack a shuffle, leaving 
the selected card the second from the top. Deal four cards face 
downward from the top onto the table in the manner illustrated 
in Fig. 9. 



3 



The cards are numbered to facilitate the task of explanation. 
The card at number ''two" is, of course, the selected card. Hand 
the spectator an ordinary die, and ask him to throw it. Should 

' 33 



The Art of Magic 

it come up ''one" or "four," request him to throw again in 
order to convince himself that the die is not loaded. If it comes 
up ''two," you touch card number "one" with your wand or 
finger, calling out "One." Then touch card number "two" 
with the wand, calling out "Two." This is the selected card, 
and with as much dramatic effect as possible turn the pasteboard 
over, or leave this duty to the person who drew the card. Should 
the spectator throw "three," the trick is brought to the same 
effective conclusion. In this case you begin to count from the 
right hand, at the card marked "four." Striking the cards 
"four," "three" and "two," counting "one," "two," "three," 
and the third card, which is marked "two" in the figure, is 
turned up. As the audience do not know what you are going 
to do, it is immaterial from which end 3''ou start counting. If 
the die turns up "five," you begin counting from the right hand 
card, as for "three," but when you have counted "four," which 
is card number "one." on the diagram, you start back, counting 
card number "two" as "five," which is the drawn card. Should 
the die turn "six." begin counting from the left hand card, 
or number "one." Count down to "four" and then return, 
counting card number "three" as "five," and card number 
"two" as "six." This is the drawn card. It will be seen that 
if "two." "three," "five" or "six" are thrown, and counting 
by the methods described, the drawn card, which should be 
always placed at number "two," will invariably be turned up. 
The only munbers that can fail are "one" and "four," and if 
either of these munbers is throwni it is only necessary to request 
the spectator to throw the die again in order to convince him- 
self that it is not prepared in any way. Should "one" or "four" 
be thrown a second time the spectator will naturally conclude 
that the die is loaded," and will need no urging to throw the 
die for a third time. This is a very effective trick and the reader 
is strongly advised to add it to his repertory. Of course, by 
means of sleight of hand, the eff'ect of the trick may be greatly 
enhanced. That skillful conjurer, Mr. Adrian Plate, uses this 
artifice with decided effect in the four ace trick, which will be 
described in a special chapter devoted to this time-honored trick. 
34 



The Art of Magic 

There are many other methods of reproducing a chosen 
card, but they are more or less familiar. Other methods will be 
described in connection with more important tricks; but for 
the present it will be more profitable to describe a number of 
card experiments that do not call for any special dexterity of 
hand, but which, of course, can be greatly enhanced by the use 
of certain sleights, such as the pass or palm. One of the simplest, 
but also one of the most etfective, is 

The Reversed Card: 
^ There are several methods of working this pretty trick, 
but we shall confine ourselves to a description of the simplest 
and in our opinion the most perfect. Allow the pack to be 
thoroughly shuffled, and invite a spectator to select a card, and 
to mark it, if he desires. While the card is being noted and 
marked, slip the top card to the bottom of the pack so that it 
faces the rest of the cards, and turn over the pack. The cards 
are now face upward, with the exception of the top card, the 
back of which negatives any suspicion of the pack not being in 
the usual arrangement. Indeed no suspicion of trickery at this 
stage of the experiment ever enters the mind of the spectators. 
The performer holds the pack squared and requests the spectator 
to replace the chosen card. When this is done the performer 
slips the top card to bottom, at the same time turning over the 
pack, which leaves the pack in statuo quo. with the exception 
of the selected card, which, unknown to the audience, is reversed 
in the pack. The perforiuer may now shuffle the pack by means 
of the riffle or overhand shuffle. If he uses the latter method 
he must stand so that the audience can not see the back of the 
pack, a precaution that will at once be obvious to the reader. 
The performer now calls attention to the fact that the cards 
have been thoroughly shuffled, and that it is impossible for him 
to be acquainted with the whereabouts of the chosen card. With 
a sweep he spreads the cards in a line or semi-circle on the table, 
face do^\aiward. when the chosen card is revealed face upward. 
If desired the performer can begin the trick with the bottom 
card already facing the pack, in which case, of course, the pre- 

35 



The Art of Magic 

liminary shuffle is omitted. It is a simple matter to spread 
the cards fan wise, Avhen inviting, spectator to draw a card, with- 
out showing the bottom card. The effect of the trick can be 
enhanced by allowing three spectators to draw cards, the three 
selected cards appearing reversed in different pai'ts of the pack. 
The trick may also be accomplished without reversing the bot- 
tom card, but this method demands some expertness in sleight 
of hand. For the sake of completeness it is described. Allow 
the pack to be shuffled, and wheii the card is returned, bring 
it to the top by means of the pass. If desired the card may be 
palmed and the pack handed out to be shuffled. Hold pack in 
left hand, the tips of the fingers pressing on the top card. The 
right hand now slightly lifts the top half of the pack, the left 
hand fingers pressing on the top card slides it off, and in the 
process the card is reversed as it enters the cut portion. 

The Piano Trtck: 

Who invented this trick, or who gave it the queer title we 
do not know. We saw it first performed by Imro Fox, but he 
did not remember where it originated. It is a clever little trick, 
however, and, if well presented, very puzzling. A spectator is 
requested to place his finger tips on the table, in the usual posi- 
tion for playing a piano. The performer places two cards in 
each of the spaces between the fingers, one space excepted, in 
which he places one card only. As he places each pair between 
the fingers he says, slowly and distinctly. "Two cards — even." 
When he comes to the last space he puts in one card, saying, 
"One card — odd." This repetition impresses on the minds of 
the onlookers that an even number of cards are used, which is 
essential to the success of the experiment. The performer now 
proceeds to remove the cards, one pair at a time, accompanying 
the movements with such expressions as "always even;" "two 
more — even," and similar expressions. As he removes the 
pairs from the fingers he places the cards on the table in two 
heaps. When he comes to the one card he holds it in his own 
hand so that every one may see it. "Now," explains the con- 
jurer, "we have two heaps containing an even number of 
36 



The Art of Magic 

cards. I have one card in my hand. If I place this odd card 
on either of the two even packs it will make that pack odd, 
will it not?" The audience, appealed to in this manner, will 
always respond in the affirmative. ''Now on which pack shall 
I place this odd card?" The card is placed on the packet in- 
dicated, "Will some one in the audience kindly hold this odd 
packet," continues the performer, handing the packet to a lady 
or gentleman. "I shall hold the even packet. My trick is 
this : I shall undertake to pass one card from my packet, which 
contains an even number of cards, to the odd packet held tightly 
by your representative. Ready! Hold tightly, sir. One, two, 
three! Did you feel the card as it struck the pack? No? Well 
sometimes the impact is imperceptible. But the card has ar- 
rived nevertheless. Will you count the cards in your packet? 
Wait a moment, sir. In the beginning you had the even packet, 
I believe? And now? (Spectator counts the cards), you hold 
the odd number, while I have the even number. (Performer 
counts the cards in his packet.) Isn't it wonderful?" 

The secret of this trick is the essence of simplicity. There 
are seven pairs of cards, fourteen in all, placed between the 
spectator's fingers, and when these pairs are split into two pack- 
ets, each packet is composed of seven cards; but the performer 
boldly auD ounces that each packet is composed of an even num- 
ber of cards, and if the patter, as described, has been used, 
the audience will never suspect the real condition of affairs. 
Consequently, it does not matter upon which packet the single 
card is placed. The result is the same in either case. 

This is really an admirable impromptu trick and a valu- 
able adjunct to any magician. We have added a little wrinkle, 
however, that makes the trick even more mystifying, and that 
is for the performer to count the cards in his packet. He counts 
the cards slowly in his hands, proving that there are eight in 
the packet, which agrees with his previous statement that both 
packets contain even cards, and the audience is more satisfied 
than ever that they hold the packet which the additional card 
has made odd. But, interposes the puzzled reader, the packet 
really contains seven cards. That is true. The performer 

37 



The Art of Magic 

makes what is known as a ''false count." Although this strat- 
egem comes naturally under the department of sleight of hand, 
it adds so much to the piano trick that we include it in this 
chapter. As this ruse will be frequently employed in other 
card tricks described in this book, the reader is advised to 
master it now. To make a false count the pack or packet is 
held as if to deal, and the cards are drawn off with the right 
-thumb, one at a time, with a slight snapping noise as each card 
is removed, one snap being made with the right thumb on the 
edge of the other cards without removing one. If the cards are 
counted quickly and evenly, the keenest ear cannot distinguish 
the difference in sound and the sharpest eye cannot detect the 
subterfuge. The addition of this false count, as we have said, 
practically makes a new trick of the piano experiment; but 
in whichever way the trick is presented, the conjurer must 
impress upon the minds of his audience that the feat is one of 
pure sleight of hand. The spectators will believe then that 
the card has really passed from one packet to the other by 
means of some extraordinary movement on the part of the 
performer, and accordingly they will be loud in their praise of 
his dexterity. 

The Transposed Cards: 

One of the oldest and best of the non-sleight of hand tricks 
consists in dealing a row of ten or eleven cards face downward 
on the table and allowing a spectator to move as many as he 
wishes from one end to the other, the conjurer divining the 
number of cards thus transposed. As this feat is described in 
every book on card conjuring, and is so well known, it would be 
a waste of space to mention it except for a very brilliant adapta- 
tion of the trick, the invention, we believe, of Ziska. There are 
few l)otter non-sleight of hand tricks in existence. 

The performer allows a spectator to cut a pack of cards 
into two heaps. Now, while the performer's back is turned, 
the spectator is requested to transpose any number of cards from 
one paelvet to another, place the two packets together and square 
up the cards. The performer deals from the top of the pack 
about twenty cards, throwing them face downward on the 
38 



The Art of Magic 

table. He now requests different spectators to draw a card 
haphazard from this pile until four or five have been drawn. 
These cards are placed face downward on the table and a spec- 
tator is asked to select a card from them. The performer now 
asks the number of cards transposed, and after the spectator 
has replied, the selected card is turned over, and the number of 
its spots correspond to the number of cards transposed. Thus, 
if three cards were transposed, a three spot would be turned up. 

The explanation is as follows: The pack is prearranged in 
this manner : On an ace, laid face downward place a deuce ; on 
this a tray; on this a four; and so on to ten; and then jack, 
queen and king*. These thirteen cards are on top of the pack. 
When the pack is cut the performer notes which packet contains 
the arranged cards. He now requests the audience to select one 
of the packets, forcing the ordinary packet by means of the 
familiar ''your right or my left" equivoque. A spectator 
takes any number of cards up to ten from the selected packet 
and places them on the other packet, the performer turning his 
back while this is done. The two packets are now placed to- 
gether, taking care that the packet on which the transposed cards 
wer.e placed is uppermost. Now, no matter how many cards were 
placed upon the arranged packet, the fourteenth card from the 
top will always give the correct number, so that in dealing off 
the cards the performer must not lose sight of the fourteenth 
card. Deal off about twenty cards, throwing them carelessly 
on the table, but allowing the fourteenth card to be a trifle more 
exposed than the others. This will facilitate the choice of the 
card. If the twenty cards are properly arranged the chances are 
greatly in favor of the fourteenth card being drawn the very 
first time. If this happens, then, of course, the trick is ended, 
and all that remains is for the performer to ask how many cards 
were transposed, and to request the spectator to turn over the 
chosen card. If four or five persons draw cards, and the four- 
teenth card does not happen to be among them, the performer 
remarks, "And I will draw one myself, selecting, of course, the 
desired card. This one is placed among those selected and they 

39 



The Art of Magic 

are spread on the table, and the proper card forced in the man- 
ner familiar to conjurers. We suggest as a slight improvement 
on this part of the trick the use of the dice for determining the 
choice of the card, as already explained. This will add to the 
incomprehensibility of the trick. If desired, the magician may 
still change slightly the conclusion of the trick. Instead of 
throwing twenty cards face downward on the table he may deal 
sixteen cards on the table in four rows, four cards in a row. 
If the cards are dealt from left to right, the key card will, of 
course, be the second card in the fourth row. Eequest the audi- 
ence to select two of the rows, either the inside or the outside. 
Whatever the choice may be pick up the two inside rows. Now 
ask the audience to select one of the remaining two rows, and 
whichever row is chosen, the magician, of course, picks up the 
top row, the one which does not contain the key card. There 
is now one row left, and the key card is discovered by means of 
the dice. As there are four rows the desired row may be 
forcod by means of a loaded dice, which will always turn up 
four. In handing the dice to another spectator, to throw for 
the card, the loaded dice is exchanged for an ordinary one, sim- 
ilar in appearance. This exchange is absurdly simple, and as 
the spectators have the dice in their possession at the con- 
clusion of the trick, and can examine it at their pleasure, the 
effect is extraordinary. The student of sleight of hand will, 
of course, enhance the effect of this trick by giving the cards 
a false shuffle. 



40 



CHAPTER III. 



CAKD TRICKS INVOLVING SLEIGHT OF HAND. 

In the last chapter a class of card tricks was described in 
which a knowledge of sleight of hand was not necessary, al- 
though it was suggested that even the simpler illusions of the 
card conjurer's art are enhanced by the judicious employment 
of the more or less familiar sleights. The feats described in this 
chapter demand a knowledge of sleight of hand, and practiced 
dexterity. The author assumes that the reader is familiar 
with the various passes, palms, forces, changes, false shuffles 
and other practical sleights that form the anatomy of card 
magic. As there are so many excellent works that exhaustively 
treat of this subject it would be a wrongful use of space to 
include descriptions of sleights familiar to the majority of 
readers. We should advise a careful study of Sach's "Sleight 
of Hand" and Professor Hoffman's admirable treatises on the 
art of magic, including his translation of Robert-Houdin 's 
"Secrets of Conjuring and Magic," which is at once a grammar 
and a dictionary of the fascinating art of deception. 

Without any further preliminary remarks, let us proceed 
with our description of actual tricks, choosing for the first num- 
ber an effective sleight of hand experiment originated by the 
author of this book. Let us call it 

THE TRANSFIXED PACK. 

This is essentially an impromptu card trick, as any pack of 
cards may be used and no preparation is necessary. Invested 
with appropriate patter it is not beneath the dignity of the pro- 
fessional wizard. 

41 



The Art of Magic 

Effect — Two cards are selected from a shuffled pack, re- 
turned to the deck, which is again shuffled by the spectators. 
The pack is now wrapped in a sheet of paper and the packet 
held securely by a rubber band. The performer thrusts a paper 
knife through the packet of . cards, and, upon investigation, the 
knife blade is found between the chosen cards. 

Time Occupied: Three to five minutes. 

Requisites and Preparation: A pack of ordinary cards; 
a paperknife; a sheet of plain paper, about 8 by 6 inches; a 
pencil and a rubber band. 

Presentation of Trick — Hand an unprepared pack of 
cards to one of the spectators with the request that the cards 
be thoroughly shuffled and cut. While the deck is in spectator's 
possession allow him to draw a card, and while he is marking it 
take the deck and request a second spectator to select a card, 
which should also be marked. The drawn cards are returned to 
the pack, brought to the top by means of the pass, palmed, and 
the deck offered for shuffling. If the performer prefers, he may 
shuffle the pack himself, taking good care, of course, to keep the 
two drawn cards on the top. Whichever method he adopts, it 
is necessary that when this preliminary part of the trick is over, 
one of the selected cards shall be at the bottom of the pack and 
the other on the top. 

Lay the pack on the table and bring forward the sheet of 
plain paper and the pencil. Allow the audience to examine 
the paper and request a spectator to write his or her name on 
it, or mark it in such a manner that it may readily be identified. 
Of course, there is no preparation about the paper, but the 
writing of the name is an excellent bit of misdirection; for while 
this is being done the performer picks up the cards, bends the 
whole pack downward over the first finger of the left hand and 
as quickly bends the top half of the deck upward. Now by mak- 
ing the pass the deck will be "bridged," and the chosen cards 
which, it will be remembered, were originally at the top and 
bottom of the pack, will now be the first cards of the upper 
and lower halves of the ''bridge." Of course, it would not be 
42 



The Art of Magic 

magical to allow the audience to see this very noticeable ''bridge." 
To obviate this the performer holds the pack between the first 
finger and thumb of the right hand, near the center, and 
squeezes the cards so that the "bridge" is obliterated. Hold the 
pack in the air and call attention to the fact that it is impossible 
for any one to know the location of the drawn cards. Wrap 
the pack in the marked paper, and, when the cards are concealed 
in the folds, release the pressure of finger and thumb, which 
allows the ''bridge" to spring back into shape. Turn down the 
ends of the paper and snap a rubber band lengthwise over the 
package. Call attention to the apparent fairness of the pro- 
ceeding and remark that even if you knew in the first place what 
cards were drawn, it would be impossible to locate the cards 
now. While you are speaking hold the package in the right hand, 
and, running the left thumb nail lightly along the side locate 
the "bridge," marking the location by a slightly pressing on 
the paper. Address the audience somewhat as follows: "My 
trick is this: I shall endeavor lo bring the two cards together 
in the pack, and this while the pack is securely wrapped in the 
marked paper. The operation is simple. I simply lay the 
package on my left palm (suiting the action to the word) and 
command the chosen cards to fly together. Presto ! Pass ! The 
cards have obeyed my command. What's that? I thought I 
heard some one remark that it is not much of a trick. Well 
I shall make it more difficult. I shall locate the two cards in 
the pack without removing the wrapper. Here is an ordinary 
paperknife (taking up a paperknife and exhibiting it). Now, 
watch me closely." The performer plunges the blade through 
the side of the package, at the point where it was marked by 
the thumb nail. The knife natural^ enters the opening of the 
"bridge" and passes between the drawn cards. Bend the bun- 
dle sharply upward, which takes the "bridge" out of the cards, 
and hand the package to a spectator with the request that he 
remove the paper. While he is doing this ask for the names of 
the drawn cards. When the paper is removed the knife is found 
between the two marked cards. 

43 



The Art of Magic 

Caution — With careful attention to detail there is not one 
chance in a thousand of failure in this experiment. The one 
chance is in not making a wide enough ''bridge," and for this 
reason a comparatively new pack is desirable, as new cards have 
the requisite spring. Enameled cards are the best. 

Second Method — This is in some respects an improvement 
on the previous method. At the outset the sheet of paper is 
lying on the table, as is also the pack of cards and the paper- 
knife. Offer the pack to be shuffled, and invite two spectators 
to select a card each. While they are marking their cards the 
performer replaces the pack on table, cutting it into two pack- 
ets, as nearly equal as possible. Spreading one packet fanwise 
he requests a spectator to replace his card. This is brought to 
the top, palmed off, and the packet offered for shuffling. When 
the packet is returned the performer replaces the palmed card 
on top and lays the packet on the center of the sheet of paper 
on the table. In the act of placing the packet on table the 
performer slightly ''bridges" it upward by contracting the 
fingers (at the upper end) and the thumb (at the lower end). 
The curve must not be too pronounced, and the packet must be 
so placed that the front edge squarely faces the audience. 
Properly placed, the keenest eye, at a distance of five or six 
feet, cannot detect the slight upward curve of the cards. The 
second selected card is now replaced in the remaining packet 
and brought to the top. After a shuffle the card is left at the 
bottom of packet. This packet is now "bridged" downward 
and placed on ,the first packet. The pack is now properly 
"bridged," and it only remains to wrap the pack in paper and 
bring the trick to the conclusion as already described. 

EVERYWHERE AND NOWHERE. 

This brilliant trick was the invention of the late Dr. Hof- 
zinzer, of Vienna, who, at the perihelion of his fame, was 
regarded as the greatest card conjurer in the world. He orig- 
inated many spectacular tricks with cards, the secrets of which 
have never been divulged. One of the most brilliant card 
effects in his repertory was entitled ' ' Everywhere and Nowhere. ' ' 
In Hofzinzer's eloquent hands this experiment must have been 
44 



The Art of Magic 

a veritable masterpiece of artistic card conjuring, and the 
modern magician will find it a decided addition to his accom- 
plishments. It is an exceedingly difficult trick, calling for a 
mastery of a sleight to which the twentieth century conjurer 
pays little attention, namely, the change, a disposition that 
should be deprecated by every honest lover of the art, inasmuch 
as some of the most brilliant and startling effects in the whole 
range of card conjuring are accomplished by this expedient. 
We shall first describe the trick just as Dr. Hofzinzer per- 
formed it in Vienna, fifty odd years ago, and shall also give, 
word for word, the graceful and brilliant patter with which he 
clothed the experiment — patter devised for the paramount pur- 
pose of misleading the spectators at the critical points. We 
shall follow Hofzinzer 's method with a revised or modernized 
version of the trick, introducing certain sleights and subter- 
fuges unknown to the makers of magic in the Doctor's day. 

Effect — From a pack of cards one is chosen, the drawer 
carefully noting it and replacing it in the pack, Avhich is shuf- 
fled by the performer. The conjurer now announces that he 
can pick the chosen card from the pack of fifty-two cards, if 
he is allowed three chances. He proceeds with the trick hy 
taking the top card and exhibiting it. but as this proves to be 
the wrong one it is laid on the table. The performer then 
exhibits the bottom card, which also proves to be the wrong 
card, and it, too, is laid on the table beside the first card. 

Having exhausted two of the three chances, the performer 
makes his third choice from the center of the pack; but once 
more he fails to find the selected card. This third card is also 
deposited on the table beside the other two. The conjurer, of 
course, is embarrassed, and cannot explain his failure to the 
satisfaction of the spectators. However, in order that the ime 
thus taken up shall not be wholly wasted, he will endeavor to 
bring the trick to some sort of conclusion. Accordingly, the 
conjurer requests a lady to select one of the cards from the 
three on the table. The magician announces that he will 
endeavor to change this card into the card originally chosen. 
No matter, which of the three cards is pointed out, the performer 

45 



The Art of Magic 

succeeds in changing it to the card that was selected in the 
first place, afterward laying it down upon the table. Another 
lady is now requested to say which of the three cards she 
would have chosen had she been given the opportunity. She 
points out either of the two remaining cards, and the performer 
takes it up and shows it also as the originally selected card. 
No other choice being possible, the magician picks up the third 
card and commands it to change into the same value and suit 
as the one chosen at the beginning of the experiment. 

While holding this, card in his hand the performer over- 
hears, or pretends to overhear, a remark to the effect that he 
has been using' a number of cards of exactly the same denomi- 
nation. To prove the inaccuracy of this perfectly natural as- 
sertion the conjurer asks the spectators to glance from the 
card he is holding in the right hand to the card on the bottom 
of the pack. As this card happens to be similar to the one in 
the magician's hand, the audience naturally imagine that they 
have really detected the swindle ; but they are cruelly deceived 
when, glancing back at the card held in the performer's right 
hand, they discover that it is entirely different from the card 
they saw there in the first instance. Placing this indiff'erent 
card upon the top of the pack the conjurer remarks that although 
the selected card is really on the bottom of the pack he has 
only to command it to pass and it will travel to the top of the 
pack. Raising the uppermost card the magician's command is 
seen to have been obej^ed. The two cards on the table are now 
picked up, and they also have been mysteriously transformed 
into quite indifferent cards, which are placed amongst the 
others and the pack handed around for examination, when it 
is found to" be without preparation and to contain but one 
of the cards that has taken such a prominent part in this 
really remarkable illusion. 

Time Occupied: Eight to ten minutes. 

Requisites and Preparation: An ordinary pack of cards, 
with two extra cards of the same suit and denomination, say 
the eight of hearts. Two of the eights must be placed on the 
top of the pack, the third eight being the last but one from the 
bottom. 
46 



The Art of Magic 

Presentation of Trick — Passing the two top cards to the 
center by means of the two-handed shift, one of the eight of 
hearts is forced on some unsnspecting individual; and while he 
is making a mental note of the card, another pass is made, which 
brings the cards back to their original position. The chosen 
card is now replaced in the center of the pack, and by means 
of a false shuffle (this is Hofzinzer's own explanation) is brought 
to the top, the conjurer at the same time shuffling an indiffer- 
ent card on the top of the two eights of hearts, which are now 
second and third from the top. In the shuffling care must be 
exercised not to disturb the third eight of hearts, which is 
last but one from the bottom of the pack. Suggest that per- 
haps the first card is the one selected by the gentleman, and 
remove the top card, which is, of course, the wrong one. While 
talking the top change must be executed, and supposed indif- 
ferent card (really one of the eight of hearts) is casually placed 
on the table as the first of the performer's three selections. At 
this point the performer must not neglect to remove the indif- 
ferent top card and place it anywhere in the center of the 
pack. Now ask whether the bottom card is the one selected, 
and on receiving a negative reply make what is known as the 
''slide" and lay the second eight of hearts on the table beside 
the first one. 

Having had two out of his three chances without discover- 
ing the chosen card, the performer makes his third selection 
from the center of the pack. It will be remembered that the 
remaining eight of hearts was left at the top, but before making 
his last choice the conjurer shifts the eight to the center. 
Instead of removing one card, the eight must be taken out 
with a card underneath it, the two exactly fitting, and, there- 
fore, appearing as one card. Exhibit this double card, and you 
will be informed that it is not the one selected by the spectator. 
In the act of laying this third and last choice on the table, the 
bottom card must be slipped into the palm, and the eight of 
hearts laid by the side of the first two. 

No matter which of the three cards is now chosen, that one, 
on being exhibited, will be the same as the card that was 
originally drawn. Before iajang this card back on the table, 

47 



The Art of Magic 

it must be changed for the top card of the pack, and the indif- 
ferent card is laid back on the table — ^of course, face down- 
ward. The eight of hearts on the top of pack unist now be 
palmed olf' and dropped on the servante or into some conven- 
ient pocket. Ask another lady to select one of the remaining 
two cards, which is also exhibited as the eight of hearts. This 
eight is then changed and left at the bottom of the pack, the 
indifferent card being placed on the table. Now the third card 
is picked up and is shown to be of the same denomination as the 
other two cards. The attention of the audience having been 
called to this third card, it must be adroitly top changed for 
an indifferent card, and the audience is directed to look at 
the card on the bottom of the pack, which appears to be same 
as the one they had just seen in the performer's right hand. 
The face of this latter card is now exhibited. Placing this 
indifferent card on top of the pack, the cards are ruffled, and 
the eight of hearts on the bottom is commanded to travel to the 
top. This is shown to have been done by apparently picking 
off the uppermost card, although really the top card is drawn 
back, as in dealing seconds, and the eight of hearts draAvn off 
and displayed. In turning the pack over to show that an indif- 
ferent card is on the bottom, the eight of licarts that was 
])reviously shown there must be palmed off' and pocketed. 
The experiment is concluded by demonstrating ocularly that 
the two cards on the table are not the selected eights. The in- 
different cards are returned to the pack, which is passed to 
the spectators for examination. 

Such is the trick as performed by the celebrated Hof- 
zinzer, and although it is not free from one or two minor faults, 
it is really one of the most brilliant of card tricks, deserving 
to rank in the same category as the "Cards up the Sleeve," 
the ''Eising Cards" and the ''Four Ace Trick." The reader 
who has followed each detail carefully will admit that in a 
trick of this kind, intricate in its movements, a greater or 
smaller effect will be obtained according to the manner in which 
it is presented. It is essentially a ' ' talkee-talkee trick," and 
as the experiment formed the most striking one in its inventor's 
programme, there can be no better way of concluding Hof- 
48 



The Art of Magic 

zinzer's own explanation than by translating into English the 
delightful and original patter with which the versatile Vienna 
conjurer surrounded the many intricate moves. Of course, 
this particular trick is more suitable for the drawing-room than 
the stage. Therefore, indulgent reader, kindly imagine youi- 
self comfortably seated in your easiest arm chair listening to th<« 
suave magician as he begins : 

''Ladies and gentlemen, card tricks, as you are well aware, 
are usually presented at a certain distance from the audience, 
many pinning their faith to the happy proverb that distance 
lends enchantment to the view. 

"With this particular experiment, however, this proverb 
is not pertinent, and as magicians are commonly supposed to 
possess very contrary natures, I am going to perform this trick 
among you. Here I have an ordinary pack of cards. (Fan the 
cards and give them a false shuffle.) Would you, sir (make 
pass) select any one of them you please (forcing the eight of 
hearts). Thank you. (Make second pass, bringing pack back 
to its original condition.) After having looked at the card 
very carefully will you oblige by placing it back into the center 
of the pack, as near as you possibly can to the position from 
whence it came. (Card is replaced and by means of a false 
shuffle the eight is brought to top of pack and an indifferent 
card shuffled on top of the eight of hearts. This is according 
to the explanation offered by Hofzinzer, but it is a rather dif- 
ficult move, and, in truth, the writer does not understand how 
this shuffle can be accomplished without disturbing the eight 
on top and the eight that is second from the bottom. A simpler 
and easier method would be to make the pass and have the 
drawn eight of hearts returned on top of the eight of hearts in 
the pack, and then by means of the pass the two eights are 
brought to the top, when by means of an ordinary riffle shuffle 
the third eight will not be disturbed and an indifferent card 
can be left on top of the pack.) 

"Thank you. Now, ladies and gentlemen, you have all 
noticed how fairly this preliminary detail has been conducted. 
Of course, it would be quite impossible for me to have any 

49 



The Art of Magic 

knowledge of the chosen card, and there is no method by which 
I can ascertain the exact position of it in the pack. However, 
to prove to any sceptic that the card is entirely lost, I will give 
the pack a thorough shuffle. (False shuffle.) Now it is com- 
monly accepted that there are fiftj^-two cards in a complete 
pack, and as this is a complete pack the chances of selecting 
the chosen card by making a random pick are, as you will 
readily admit, very remote. However, by a curious and intri-, 
cate mathematical calculation, I have materially reduced the 
number of chances, and I have the system now working so 
perfectly that out of three chances, at the very most, I can 
undertake to find the card this gentleman was kind enough to 
draw. To illustrate the invariability of this system, I will 
begin by asking the gentleman if this, the top card, is not the 
one he selected. (Exhibit top card.) It is not? Very well, 
then, (making top change) I must place it on the table. It not 
being the top card perhaps it was the bottom one. Is this the 
card you selected, sir? (Holding up pack in left hand so that 
bottom card is visible.) No, not this one either, which is the 
second one of my chances, and which I shall also place on the 
table beside the first. (Performer, by means of the sleight 
known as the ''slide," or ''glide," places the eight of hearts, 
which was the second card from the bottom, on the table. ) Now 
for my third and last chance of selecting the chosen card. 
This time I shall select a card from the center of the pack. 
(Makes pass) This must be yours, sir. (Exhibiting double card 
as one card) It is not? Then, for once, I regret to confess that 
my system has failed. However, so that the time we have ex- 
pended on this experiment shall not be wasted, I shall place 
this card also on the table (lying pack on table and making 
single hand change; that is to say, palming bottom card and 
laying the top card, the eight of hearts, on table) and trust 
to the power of the ladies to assist me. 

"Ladies, you know, can often produce marvels by a single 
look. Therefore, why could they not exercise some wonderful 
influence over these cards? Madam, will you kindly determine 
which of these three cards lying here shall be the one selected 
originally by this gentleman. Thank you. I just raise the 
50 



The Art of Magic 

card, and it has changed to the eight of hearts. Is this your 
card, sir? It is. Then you see how well this lady has succeed- 
ed. I notice that this other lady here is anxious to exercise her 
power over the other two cards, so I shall ask her to name the 
one she would have chosen had she had the choice. This one? Then 
I shall merely raise the card, and you see it has also changed 
to the one originally selected. 

"Now, a further choice is not possible, but, madam, if you 
had chosen this card (turning up the remaining card on table) 
it would also have turned out to be the one the gentleman chose at 
the beginning of the experiment. I beg your pardon, sir. 
You say that there are three eights of hearts in the pack? Oh, 
no. I assure you there is no such preparation about the cards, 
except that they possess some very peculiar properties. 

Kindly notice that I hold in my hands the eight of 
hearts. Now if you will allow your eyes to travel from my hand 
to the pack (here make top change for an indifferent card) 
you will see that the same eight of hearts is at the bottom of 
the pack. Of course, there are not two alike because the one 
in my hand is not really the eight of hearts (here you exhibit 
the indifferent card.) I place this indifferent card on the top 
of the pack and command the eight of hearts at the bottom to 
pass to the top. See how faithfully it obeys me, for it is here, 
(second deal and show eight of hearts) and no longer there 
(before showing bottom of pack palm off eight of hearts and 
get rid of it in a convenient pocket), and these two cards on 
the table are quite ordinary ones, (turning them over and 
replacing them in pack), and if any lady or gentleman will 
examine the pack they will find that there is absolutely no 
preparation about a single card." 

The weak points, from the point of view of the modern 
conjurer, in this otherwise admirable trick are: First, Shuffling 
the drawn eight of hearts from the center of the deck to the 
top, at the beginning of the trick; second, dealing seconds in 
order to convince the audience that the eight of hearts has 
passed, as commanded, from the bottom to the top of the 
pack; third, palming off the eight of hearts left at the bottom 

51 



The Art of Magic 

of the deck after the second dealing just mentioned. In the 
new method of performing the trick, as devised by the author 
of this book, thtse impracticable manouvers are obviated. 

EVERYWHEEE AND NOWHERE— NEW METHOD. 
Time Occupied: About ten minutes. 

/Requisites and Preparation — A pack of ordinary cards — 
instead of using the entire pack it will be found more conven- 
ient to work with about forty cards. In addition you must 
have three aces of diamonds and three cards covered with cloth 
of the same color as your table top. For the purpose of ex- 
planation it is assumed that the cloth-covered cards are the 
five of clubs, the ten of hearts, and the eight of spades. There 
is method in this order of the suits. It saves a good deal of 
mental work if the conjurer adheres invariably to the same 
order of suits in tricks where such arrangement is essential or 
in using pre-arranged packs. The simplest order is as follows: 
Clubs, hearts, spades, diamonds, which can never be forgotten 
if attention is paid to the mnemonic fact that the initial letters 
of the four suits spell ''C-H-(a)-S-(e)-D." In using the three 
cloth-covered cards for this experiment, they are laid on the 
table, face downward, in this order, from left to right: Five 
of clubs, ten of hearts, and eight of spades. Under artificial 
light the cards are invisible. It is essential that you should 
remember the order of the cards. Before presenting the trick, 
a slight arrangement of the pack is necessary. Place two of 
the three aces of diamonds on top of the pack, and on top of 
the aces lay the eight of spades, so that the order of the first 
three cards counting from the top is: Eight of spades, ace of 
diamonds, ace of diamonds. On the bottom of the deck place 
the third ace of diamonds ; on the ace place the ten of hearts, 
and on this card lay the five of clubs. When this is done the 
order of the cards, counting from the bottom of the pack, 
will be : Five of clubs, ten of hearts and ace of diamonds. A 
pencil and a small piece of blank paper, or, preferably, a small 
pad, complete the preparations. With the table standing back 
several feet from the spectators, and on this table the three 
52 



The Art of Magic 

cloth- covered cards, the pre-arranged pack and the pad and 
pencil, the conjurer is in readiness to present this mystifying 
experiment. 

Presentation of Trick — Come forward with the pack of 
cards and request a spectator to draw a card, really forcing one 
of the two aces of diamonds. As the eight of spades is the top 
card, care must be taken not to allow it to be chosen. After the 
pass is made which brings the eight of spades and the two aces 
of diamonds to the center, a fan is made and the eight slid 
out of danger, so that when the spectator's fingers are about to 
close upon a card that card must be one of the two aces of 
diamonds. While the performer is impressing upon the spec- 
tator not to forget his card he inserts the little finger of left 
hand above the eight of spades and makes the pass, which 
restores the pack to its original arrangement, with the exception 
that one ace of diamonds has been removed. Make the pass 
once more, holding the little finger at the break. Request the 
spectator to replace his card, cutting the cards at the break 
and allowing him to replace the ace on the top card of the lower 
packet, which is the eight of spades. The bottom card of the 
top packet, which is held in the right hand, is the five of clubs. 
Now in the act of placing the two packets together, slightly fan 
the packet in right hand, which enables you, in sliding top 
packet on the lower, or left hand, packet, to insert little finger 
of left hand above the five of clubs. After making the pass 
the arrangement of the cards, counting from the top, will be 
as follows: Five of clubs, ace of diamonds, eight of spades, ace 
of diamonds. The arrangement of the cards, counting from 
the bottom of the deck, will be ; Ten of hearts, ace of diamonds. 
These directions may sound tolerably complicated, but if the 
different movements are followed with a pack of cards actually 
in the hands they will readily be comprehended. 

As already explained, the performer announces that he 
can pick the chosen card out of the deck if he is allowed 
three chances. He accord inglj^ turns up the top card (the five 
of clubs) and asks the spectator if it is the selected card. The 
answer is in the negative. ''Very well," responds the perform- 
er. "That is one chance, and for the present I shall place this 

53 



The Art of Magic 

five of clubs on the table, so that I may not pick it out again by 
mistake." As he speaks the performer makes a half turn 
toward the table, during which he topchanges the five of clubs 
for the ace of diamonds. He now places this ace of diamonds 
on top of the cloth-covered five of clubs on the table. The audi- 
ence sees only the one card, which they naturally think is the 
five of clubs, and even if there is any suspicion that the per- 
former has changed the card, all that the conjurer has to do 
is to pick up the ace of diamonds and the cloth-covered five of 
clubs together and exhibit them as one card. This contremps, 
however, will seldom arise, for the spectators, not knowing what 
you are going to do, are not in the least suspicious at this stage 
of the proceedings. 

For liis second chance the performer chooses the bottom 
card, which is the ten of hearts. This also does not prove to be 
the right card, so the performer says that he will also place 
the ten of hearts on the table. By means of the ''slide" he 
draws out the second card from the bottom, which, it will be 
remembered, is on ace of diamonds, and this ace is laid on 
the cloth-covered ten of hearts on, the table. At this stage of 
the proceedings the pack is arranged as follows: From the top, 
the five of clubs, the eight of spades, and the ace of diamonds. 
From the bottom, the ten of hearts. For his third and last 
chance the conjurer selects a card from the center of the pack. 
To do this, make the pass, which brings the lower packet on 
top, the little finger separating the ten of hearts from the five 
of clubs. The four desired cards are thus placed together. 
Spread the pack fan wise in the left hand, arranging the cards 
so that the ten of hearts, five of clubs, eight of spades and the 
ace of diamonds are more prominent than the rest, and also in 
such a manner that you may readily locate each of the four 
cards. After a moment of deliberation pick out the eight of 
spades, and, without showing its face, hand it to the spectator 
who drew the card, remarking confidently that your trick has 
succeeded. While he is looking at the card the performer slips 
his little finger in the opening of the fan left by the removal of 
the eight, closes the pack, and makes the pass. By this maneuver 
the ace of diamonds is brought to the top of the deck and the 
54 



The Art o£ Magic 

five of clubs and the ten of hearts to the bottom. By this time 
the spectator has more or less vigorously denied that the eight 
of spades is his card, and the performer, simulating embarrass- 
ment, takes the eight, and, in turning to place it on his table, 
deftly changes it for the ace of diamonds, which card he places 
on the cloth-covered eight of spades on the toble. You now have 
three aces of diamonds on the table, each ace resting, unknown 
to the audience, on a cloth-covered card. The eight of spades, 
the five of clubs, and the ten of hearts, in this order, are on the 
bottom of the deck. You now lay deck on table, but before do- 
ing so bring these three cards to the top by means of the pass 
which, of course reverses their order, leaving the ten of hearts 
on the top of the deck. It is important to remember this. 
Explain how sorry you are that the experiment has failed, and 
picking up the ace of diamonds and the cloth-covered five of 
clubs together, holding them as one card, ask the spectator if 
he is certain that it is not his card. He, of course, replies in 
the negative, and the performer replaces the five of clubs on 
the table, at the same time pushing the top card, the ace of 
diamonds, to the front of table, which leaves the cloth-covered 
five of clubs at the rear, where it is invisible. To the audience 
it appears as if you had simply laid the five of clubs on the 
table and pushed it forward. Repeat the same question and 
movements with the remaining two cards. Now, using Dr. 
Hofzinzer's patter, request a lady to choose one of the three 
cards on the table. The middle one is invariably chosen. This 
is the ten of hearts, or rather, the audience suppose it to be. 
When the middle card is turned over the spectators will be be. 
wildered at the transformation of the ten of hearts into the ace 
of diamonds, the card originally drawn. The performer ap- 
parently replaces the ace on the table, but in reality he bottom- 
changes it for the ten of hearts, which is laid on the table. 
Another spectator is invited to select one of the two remaining 
cards on the table, and by means of "your right or my left'^ 
equivoque the supposed five of clubs is forced. This card is 
lifted up, and it has also mysteriously changed into the ace of 
diamonds. While holding this ace of diamonds before the 
spectators the performer pretends to overhear a remark that he 

55 



The Art of Magic 

is using a number of cards of the same denomination. During 
this ''patter" he deftly exchanges the ace for the top card of 
the pack, which is the five of clubs. He requests the spectators 
to glance from the ace of diamonds in his hand (really the five 
of clubs, the card, of course, being held with its back to the 
audience) to the card on the bottom of the deck, which is the 
ace of diamonds. The audience begin to laugh, inasmuch as 
they imagine that they have caught the performer, who turns 
the laugh on them when the supposed ace of diamonds in his 
hand is exhibited as the five of clubs. During the astonishment 
that follows, the performer, making a slight turn to the right, 
exchanges the five of clubs for the ace of diamonds on the top 
of the pack, leaving the five on the bottom. By this sleight the 
spectators are persuaded that the ace and five have again 
changed places. The ace of diamonds in the right hand is 
actually placed on the table, so that the spectators can see that 
no exchange has been made; but the card is really placed on 
the cloth-covered five of clubs. The last of the three cards on 
the table, which the audience believes to be the eight of spades, 
is now taken up and likewise exhibited as the ace of diamonds. 
The ace is bottom-changed for the eight of spades, which is on 
the top of the deck, and it is this eight that is replaced on the, 
table, although the spectators believe that it is the ace of 
diamonds. In reality the two aces of diamonds, with the five 
spot of clubs between them, are on the bottom of the deck. It 
is necessary to get rid of the two duplicate aces before conclud- 
ing the trick. If the performer is expert enough he can palm 
them in the left hand and get rid of them in a convenient pocket. 
The majority of performers, however, will prefer to make the 
pass, bring the cards to the top, and palm them off in the right 
hand. In either case it is easier to palm the three cards rather 
than just the two aces; for as the five of clubs is between the 
two aces, it would necessitate too much fumbling in order to 
eliminate the five. After the duplicate aces are done away 
with, the trick is easily concluded. Draw attention to the fact 
that the three aces have been replaced on the table. Turn up 
first the cloth-covered five of clubs with the ace of diamonds on 
top, exhibiting them as one card. Draw attention to the fact 
^6 



The Art of Magic 

that they did not see an ace of diamonds, that they only thought 
they did. Replace the double card on table, drawing away the 
ace of diamonds, as explained in the first part of the trick. 
Then turn up the ten of hearts and the eight of spades, which 
are both laid face downward on the ace of diamonds (which 
the spectators suppose is the five of clubs) and the three cards 
are replaced in the pack, which is shuffled and handed to the 
audience for examination. As the pack contains only one ace 
there is no danger in this proceeding. 

Caution — This experiment should not fail in the hands 
of a performer tolerably proficient in the force and the top 
and bottom changes. The performer is earnestly cautioned 
against undue haste. The trick should be presented slowly and 
easily, and no attempt made to grace the experiment with fancy 
flourishes. 

Suggestions — If the performer is accustomed to work with 
an assistant, it is not necessary to force a card in the beginning 
of the trick. For instance, the performer could have a card 
selected at random from an arranged pack, and by looking at 
the next card would instantly become acquainted with the 
drawn card, which information could be transmitted to the 
assistant by means of a specially arranged code, such as ' ' Thank 
you," "Much obliged," "Very well," or a similar phrase. The 
ingenuity of the reader will supply a better code than can be 
arranged haphazard, inasmuch as each performer has his own 
peculiar habits, or tricks, of speech. The assistant arranges the 
required duplicates, as described, and places the arranged pack 
on the table, from which the performer picks it up in exchange 
for the first pack. If the conjurer is deft at exchanging packs 
he can bring the trick to a still more effective conclusion. In 
case the trick has been presented with the ace of diamonds as 
the selected card, have a duplicate pack made up of aces only. 
This pack is concealed about the person in such a manner that 
it may be readily secured. As many amateurs do not Wear 
clothes with special pockets and other repositories, I shall describe 
a new method of exchanging packs, which can be performed 
with impunity right under the very noses of the audience. The 
pack consisting solely of aces of diamonds is in the right hand 

57 



The Art of Magic 

coat pocket underneath a moderately large silk handkerchief, 
with which during the course of his entertainment the con- 
jurer is accustomed frequently to wipe his hands. Offer the 
pack, which you have been using, for examination; and while 
the spectators are investigating the cards, casually bring out 
the silk handkerchief, and with it the pack of cards, the deck, 
of course, being concealed by the folds of the handkerchief. 
Casually rub the palms with the handkerchief, and as you are 
about to take back the pack from the spectators the handker- 
chief is allowed to rest in the left hand, under the folds of 
which the pack of aces is palmed. Receive the pack from the 
spectators in the right hand, and then casually use the hand- 
kerchief again. During this motion the folds of the handkerchief 
are allowed to fall over the pack in the right hand, which 
leaves the pack in the left hand in full view. The left hand 
continues to rub the handkerchief lightly over the right hand 
for two or three seconds, when the right hand replaces the 
handkerchief and cards in pocket. If the movements are made 
carelessly and without haste, the exchange is indetectable, as a 
trial before the mirror will convince the most skeptical reader. 

Having exchanged packs the conjurer addresses the person 
who drew the ace of diamonds: "You appear to be fond of 
aces, sir. How many would you like?" What ever his reply 
may be you count off the number requested and ask him to blow 
on them. He does so and you hand him the packet of cards. 
While he is examining them palm off fifteen or twenty of the 
aces. Then ask him to blow again. *'Ah, you blew rather 
strongly that time, " you remark. "Too strongly, I'm afraid. 
You blew some of them out of my hand." Thrust your right 
hand into the breast of spectator's waistcoat and produce three 
or four aces, leaving the remainder inside. Palm some more 
from the pack and produce them from various parts of the 
spectator's clothes, dropping them to the floor so as to make 
them look as numerous as possible. You then say : ' ' There really 
seems to be no end to the aces. Won't you kindly assist me? 
Take them out yourself." While he is taking the cards out of 
the waistcoat, palm in the right hand all the remaining aces. 
* ' Are you sure you have no more aces about you ? No ? That 's 
58 



The Art of Magic 

strange. You blew rather hard, you know. I really think you 
must have some more about you. ' ' While saying this you stand 
on the spectator's right, and placing your right hand just below 
his eyes allow the cards to spring from the hand, the effect 
being exactly as if the stream of cards flowed from his nose. 

References — The reader, it is taken for granted, is familiar 
with the sleights employed in this trick, but if he is desirous of 
brushing up his knowledge of the various changes employed we 
recommend a study of ''Modern Magic," pages 28 to 34, and 
of Sachs's ''Sleight of hand," pages 108 to 112. The subject 
is also discussed in Mr. Roterberg's "New Era Card Tricks," 
pages 17 to 29. The "slide," (glisser la carte) is described 
and illustrated in "Modern Magic" at page 36, and on page 
37 of the same work is a description of springing the cards, 
which flourish is utilized at the conclusion of the trick just 
described. The force and the palm are also described at length 
in the books mentioned, which information is given for the 
benefit of the reader who may not be familiar with magical 
literature. 

A trick rather similar in effect to Hofzinzer's "Everywhere 
and Nowhere," but differing largely in detail and execution, 
was invented a few years ago by the author of this book, 
and, therefore, it naturally follows the experiment just 
described. For want of a better name we shall refer to it as 

THE GENERAL CARD— T. NELSON DOWN'S METHOD. 

This is the title of one of the oldest tricks in magical liter- 
ature, and is to be found in some of the earliest works on magic 
in the English and French language. It is described in Robert- 
Houdin's "Conjuring and Magic," page 245, under the title of 
"The Metamorphoses." Other references to this trick are as 
under : 

"Sleight of Hand" (Sachs), page 119. 
"Modern Magic" (Hoffmann), page 87. 
"Tricks with Cards" (Hoffmann), page 120. 
"New Era Card Tricks" (Roterberg), page 162. 
The method pursued by Mr. Downs differs radically from 
the methods described bv the authorities cited, and it is generally 

o9 



The Art of Magic 

regarded by magicians as a brilliant piece of card artistry. 
To perform it successfully requires a high degree of manipula- 
tive ability, buttressed by unflinching nerve and audacity. It 
will repay all the study devoted to it, however, as it introduces 
some novel sleights and demands a mastery of the difficult art 
of second dealing, a sleight that has been sadly neglected by 
conjurers, and which can be used to great advantage in magic. 

Effect — Any number of persons draw a card, and by a 
curious chance each card proves to be of the same suit and de- 
nomination. After showdng each spectator his (or her) card, 
the performer places it on the table. The heap on the table is 
shown to consist of cards similar to the one drawn, say the five 
of clubs, and the performer then convinces the spectators that 
the pack contains nothing but fives of clubs. Finally the cards 
on the table are shown, and to the spectators' amazement not 
one of them is a five of clubs, and then the performer exhibits 
the remainder of the pack and there is not a single five of clubs 
among the cards. 

Time Occupied — About eight minutes. 

Requisities and Preparation — An ordinary pack of cards. 

Presentation of Trick — In order to explain this brilliant 
trick in the simplest manner possible we shall describe it move 
for move exactly as performed by its inventor, numbering each 
move. 




Fig. 10 



1. Performer hands pack to a spectator with the request 
that the cards be thoroughly shuffled and that the audience 
satisfy themselves that it is an ordinary deck of cards. When 
the cards are returned the performer spreads them on the 
table, face downward, and requests that one of the spectators 
select a card. Let us assume that the chosen card is the five 
60 



The Art of Magic 

of clubs. Any other card, of course, would answer the purpose 
just as well. 

2. The chosen card is returned to the pack. 

3. Chosen card is shifted to the bottom. 

4. Take off the two bottom cards — the chosen card in 
front — holding the two cards so that they appear as one, as in 
Fig. 10. 

5. A subtle sleight is now employed., which we may call 
the Downs change. The pack is in the left hand, face up, in 
exactly the same position for the regulation two-hand pass. 
The two cards in the right hand are now placed on the face of 
the pack, so that the double card overlaps the pack almost one- 
half as in Fig. 10. In this position the five of clubs* is held 
securely on the face of the pack by left thumb. The right first 
finger snaps that part of the five of clubs that extends over the 
edge of the pack, in order to draw especial attention to the 
card. 

*By mistake the artist drew the ace of clubs instead of the 
five; otherwise the illustration faithfully represents the cards 
and the position of the hands. 

To make the change, the right hand seizes the extended 
edge of the double card between the thumb and first finger — 
the thumb on top and the first finger under m^ath. The pack is 
now turned over, the movement being toward the body of the 
performer. Simultaneously with this movement of the left 
hand, the right thumb pushes the five of clubs towards the 
pack, the left thumb assisting in the work of imperceptibly push- 
ing the card home, leaving the second card protruding from the 
bottom of the pack, and held between the thumb and first finger 




Fig. 11 

of the right hand, this time the thumb below and the first finger 
on top. The five of clubs is now on the bottom of the pack, 

61 



The Art of Magic 

and the card that the audience supposes to be the five of clubs 
is held face downward, in the right hand, as in Fig. 11. This 
hand now drops the card, face downward, on the table. The 
cards in the left hand are, of course, held face downward. 
The change is now made. In ''New Era Card Tricks" a varia- 
tion of this sleight is described on page 87, although it is neither 
so subtle nor deceptive. 

6. At this stage of the trick the five of clubs is on the bot- 
tom of pack, and a card, supposed by audience to be the five of 
clubs, lies face downward on the table. Make the shift, bring- 
ing the five of clubs to the middle, and force it on a second spec- 
tator, this time employing what is known as the single-hand 
force. For this purpose the cards are spread fan-wise, the 
five of clubs being so disposed as to show a little more surface 
than the others. This minute difference of surface catches the 
eye, and the chances are that the spectator will select the card 
so exposed. 

7. While spectator is looking at the drawn card, the per- 
former palms a card from the top of the pack. 

8. The spectator replaces drawn card on top of pack, and 
immediately afterward the performer returns palmed card to 
the top of pack. The drawn card, the five of clubs, is now the 
second card. 

9. The conjurer apparently picks up the top card, in 
reality picking up the two top cards, and holding them as one. 
For this purpose both cards are held slightly convexed toward 
the palm, the thumb at the lower end and the fingers at the up- 
per end. The two cards are then replaced on top of the pack. 

10. Performer now placed pack on the table, and with 
right hand takes off the top card, supposedly the five of clubs, 
and places it on the first card on the table. The spectators 
are convinced that there are two fives of clubs on the table. 
(Note: Adrian Plate's "Excelsior Change" can be used to good 
advantage instead of the move utilized by Mr. Downs. The 
"Excelsior Change" is described on page 22 of "New Era 
Card Tricks.") 

11. The original five of clubs is on the top of the pack 
at this stage of the trick. Now give the deck a false shuffle, 
leaving the five on top. 

62 



The Art of Magic 

12. Force the five of clubs on a third spectator, this time 
holding the pack behind the back. This force requires nerve 
and skill, but with practice is as sure as any other method. 

13. Card received in right hand. Pack is held in left 
hand. 

14. In turning toward table make the bottom change, 
that is, taking a card from the top of deck and leaving the five 
of clubs on the bottom. : This change is described on page 28 
of ''Modern Magic," and will also be found in all other standard 
works on conjuring. The card in the right hand is thrown on 
the two cards lying on the table, and spectators believe that three 
fives of clubs are now on the table. 

15. Give pack a false shuffle, leaving five of clubs on top 
of deck. 

16. Force the five of clubs on a fourth spectator. 

17. Card returned, and Downs change again made, as 
described in move No. 5. Four cards are now on the table, 
each one supposed to be a five of clubs. 

18. Exhibit the bottom card of deck, which is the original 
five of clubs. Draw especial attention to the fact that it is the 
bottom card. 

19. Shift, and show five of clubs as the top card of deck. 

20. Shift the five to the center of pack, spread the cards 
fanwise, and, observing that it makes no difference from which 
spots, draw out the five of clubs from center of pack and ex- 
hibit to audience. 

21. Carelessly waving the five spot of clubs in the right 
hand, as if wishing every one in the audience to see it, change 
it by means of top change (''Modern Magic," page 30) and 
place the indifferent card on table. There are now five cards on 
table, each supposed to be a five of clubs. 

22. Give pack a false shuffle and force five of clubs on 
another spectator. AVhile he is examining card, palm off top 
card of deck. 

23. Have five of clubs returned on top of deck, replacing 
palmed card on top of the five. Deal top card on table, as 
described in moves 9 and 10. Six cards are now on table, 
each one supposed to be a five of clubs. 

63 



The Art of Magic 

24. Turn up five spot of clubs on top of deck and throw 
it on the cards on table. This makes seven cards on the table. 
The audience is persuaded that each of the seven cards is a five 
spot of clubs, but in reality the top card only is a five spot of 
clubs. Place deck on table. 

25. Pick up the packet of seven cards with the left hand. 
Show the top card, which is the five of clubs. In turning it 
face downward again shift it to the bottom, and exhibit bottom 
card as the five of clubs. 

26. Insert little finger between the second and third cards 
from bottom and make the shift. This brings the five of clubs 
the second card from the top. 

27. ShoAv the two top cards as one, ss described in move 9. 
Then place the top card, apparently the five spot, on the table. 

28. Exhibit again the top card, which is really the five 
of clubs. Apparently place this five of clubs on table, but 
really deal seconds instead. (For directions for second dealing 
see Lang Neil's "The IModern Conjurer," page 59, and the 
"Expert at the Card Table." page 58. 

29. Repeat second dealing, showing the top card each time 
as the five of clubs. When the performer comes to the last two 
cards, shift and show last card as the five spot. 

30. Palm off five of clubs and dispose of it in any manner 
that suits the time and occasion. Then show the cards on table, 
proving that there are no fives of clubs among them. Then 
exhibit the pack, proving that there is not a five of clubs in 
the deck. If this part of the trick is done with assurance and 
dexterity, the performer can convince the spectators (for the 
time being) that the five of clubs was not drawn in the first 
place, and that the whole experiment was nothing more or 
less than an optical illusion. Such is the effect in the hands of 
the inventor. 

THE FLYING CARD. 

The proper title for this trick should be "The Kinetoscope 
Card." but, obviously, such a name could not be used on a 
programme, as it might give a clue to the modus operandi. 
A trick, however, bv any title will have the same effect; and 
64 



The Art of Magic 

this trick is really one of the subtlest and most mysterious in 
modern magic. We are indebted for the secret to the inventor 
who performs under the sobriquet of L'homme Masque, and 
who in private life is the Marquis d'Orighuala de Gago. He is 
one of the oldest and most expert magicians in France, and an 
especially expert manipulator of cards. 

Effect — A spectator mentally selects a card. Without any 
sleight on the part of the performer the cards are handed to 
spectator to shuffle. When this is done the performer takes 
three cards out of another spectator's pocket, one of the three 
cards being the card mentally selected. The other two cards 
are the queen and jack of the same suit as the selected card, 
which is invariably the king of clubs. 

Time Occupied — About four minutes. 

Requisites and Preparation — A pack of cards pre-ar- 
ranged as follows: All the face cards, with the exception of 
the jack, queen and king of clubs and the king of spades, are 
placed at the rear of the pack. On the front of the pack are the 
spades, the ten spot being the first card. Following the spades 
are a few hearts and diamonds (no face cards or aces should 
be in this arrangement). Now arrange the next cards in this 
order : ten of clubs, nine of clubs, eight of clubs, king of spades, 
seven of clubs, six of clubs, five of clubs, four of clubs, three 
of clubs, two of clubs and ace of clubs. This arrangement is 
essential. Following these arranged cards place the rest of 
the red cards, indiscriminately, and last of all come the face 
cards. The jack, queen and king of clubs are utilized as fol- 
lows: During some preceding experiment the performer in tak- 
ing cards or any other object from a spectator's pocket has 
secretly introduced these cards into the pocket. Taking up 
the arranged pack he riffles the cards, the forces being toward the 




Fig. 12 

spectator in whose pocket he has planted the cards, asking him 

65 



The Art of Magic 

to think of one of the face cards. The method of forcing a 
card by the riffle is as follows: Hold the cards as in Fig. 12. 
The deck is in the left hand, thumb across top near inner end, 
and first and second fingers at side. Bring over the right hand 
and seize the deck with fingers at outer end and the thumb at 
the inner end, and hold so that the outer end of the cards may 
be sprung or riffled, the faces toward the spectator. Riffle the 
cards so that the only face card shown is the king of spades. 

Here is where the deception comes in. The king of spades 
is the only face card in the front part of the deck, that is to 
say, in the part that is riffled; but owing to the peculiar ar- 
rangement of the cards (the king of spades in the midst of the 
clubs) the effect on the eye is kinetoscopic. In other words, it 
looks like the king of clubs. The cards must not he riffled 
hurriedly, as a slow riffle brings out the kinetoscopic effect bet- 
' ter than a quick flourish. A few trials before the looking-glass 
will determine the exact amount of speed to use in riffling 
the cards. The trick is now done. The pack is shuffled so that 
the cards will not be in any particular order when the cards 
are subsequently examined. After the spectator has looked 
through the deck in vain for his card, ask him to feel in his 
pocket, when to his utter bewilderment he will find the actual 
(?) card that he saw in the pack. L 'Homme Masque produces 
three cards, but this addition, in our opinion, does not enhance 
the effect of the experiment. To produce the three cards pro- 
ceed as follows: After the spectator has shuffled the cards, re- 
quest him to hold the pack tightly. Now ask him what card he 
, mentally selected. ''The king of clubs," you reply, after he 
has named the card. ''A very good card for the purpose of our 
experiment. You cannot keep a king in the pack if he desires 
his liberty. I shouldn't be surprised if he has already left the 
pack and flown into your pocket. Perhaps he has taken the 
queen along, too. Where there are kings you generally find 
queens. Just for the sake of completeness let us send the jack 
to keep their majesties company. (Here you wave the wand 
over the pack). Will you kindly examine the pack and see 
if their majesties have departed, and also if the jack has obeyed 
my commands?" The three cards are subsequently found in 
the spectator's pocket. 
66 



CHAPTER IV. 



Sleight of Hand ivith Cards, continued. 
THE PKINCESS CARD TRICK. (First Method.) 

This trick is the inventiou of ]\ir. Heury Hardiu, au American 
magician who has contributed many ingenious ideas to modern 
magic. 

Effect — The performer exhibits four cards, held fanwise 
in the left hand, and requests a spectator mentally to select one 
of them. The performer takes one of the cards and deliberately 
places it in his pocket. Upon spreading the cards again the 
spectator's card is missing, and the performer draws the 
mentally selected card from his pocket. 

Time Occupied — Two minutes. 

Requisites and Preparation — Four cards are arranged 
as follows: King of clubs, jack of hearts, jack of spades, and 
queen of diamonds. The order of the .suits is the familiar 
C-H-(a)-S-(e)-D. or "chased," which has already been recom- 
mended, and which is of especial importance in this experiment. 
There is enough to remember in the magic of cards without 
burdening the memory with unnecessary orders or formulas. 
Behind the king of clubs, the top card of the packet, arrange 
these three cards: Queen of clubs, king of spades, and jack of 
diamonds. At the outset the seven cards can be on the top of 
the pack, the last named three cards, of course, on top of the 
king of clubs. 

Presentation of Trick — Give the pack a shuffle, taking 
care, of course, not to disturb the seven arranged cards on top. 
Rapidly count off these seven cards, in such a manner that the 
audience cannot see how many cards you take. Arrange the king 
of clubs, jack of hearts, jack of spades and queen of diamonds 

67 



The Art of Magic 

fanwise in the left hand, keeping the three extra cards — the 
queen of clubs, king of spades and jack of diamonds — concealed 
behind the king of clubs. It does not matter in what order the 
suits of the three concealed cards are arranged. The proper 
method of holding the fan of cards is with the left side of the 
king (and the three concealed cards) pressed tightly in the 
crotch of the left thumb, the opposite edge being held by the 
tip of the first finger of the left hand. This will keep the cards 
from spreading and bringing the trick to a premature and 
disastrous conclusion. The other three cards of the fan are 
held between the tips of the left thumb and second and third 
fingers. 

Turn your back to the spectators and hold the fan high 
above the head, the faces of the cards toward the audience, and 
request a spectator to think of one of the cards. When the 
choice has been made, square the cards, inserting the little finger 
between the king of clubs and the three cards back of it. Then 
you say: "I shall now place one of the cards in my pocket," 
and, suiting the action to the words, take the four cards you 
have just shown, and, holding them as one card, place them in 
the pocket, leaving the three extra cards in your left hand. 
Ask the spectator to name his card. Let us suppose he chose 
the king of clubs. The perform.er replies, ''The king of clubs? 
Ah, then I read your mind correctly; for placed the king of 
clubs in my pocket. Let me show you first that the king has 
left the pack." The performer spreads the three cards, the 
queen of clubs, the king of spades and the jack of diamonds, on 
the table. He then produces the desired card from the pocket. 
As the order of the suits is known this part of the trick is a 
simple matter. The king of clubs is the fi-rst card, and as the 
packet is placed face down in the pocket all you have to do is 
to pick up the top card. If the chosen card is the jack of spades, 
the performer picks out the third card. A little practice is 
necessary in order to make the selection quickly, for there must 
be no fumbling in the pocket. 

Caution — The spectator will never detect the substitution 
of the cards; for the ingenious arrangement of the suits tends 
to confuse the mind. It is the part of wisdom, however, to 
68 



The Art of Magic 

hold the fan of cards so that only one person can make a selec- 
tion; otherwise more than one person may remark a card. 
Consequently, when the three substitute cards are laid on the 
table the spectators may wonder at the disappearance of the 
cards they saw. With due attention to this minor detail there 
is no reason why the trick would fail. 

THE PRINCESS CARD TRICK. (Second Method.) 

In this form of the trick five cards are held in a fan, four 
of which are prepared as depicted in Fig. 13, which explains 





Fig. 13 Fig. 13 

the method of preparation better than a page of description. 
The fifth card, the king of spades, is unprepared. It is obvious, 
after a glance at the illustration, that the double cards may be 
arranged fanwise in the following order: Jack of clubs, queen 
of hearts, queen of spades, jack of diamonds. Now, by simply 
reversing the fan the order, from left to right, will be: Jack 
of spades, queen of diamonds, queen of spades, jack of hearts, 
in the actual performance of the trick you must have the fol- 
lowing unprepared cards in one of your pockets (preferably the 
trousers pocket), arranged in this order: Jack of clubs, queen 
of hearts, queen of spades and jack of diamonds. You are 
thus enabled to locate instantly any one of the four cards. 

69 



The Art of Magic 



Hold the prepared cards and the unprepared king of spades 
in a fan. The order of the cards, from left to right is as follows : 
jack of clubs, queen of hearts, queen of spades, jack of diamonds, 
and king of spades. Holding the fan aloft, as directed in the 
first method, request a spectator to think of one of the cards. 
The odds are somewhat in favor of his choosing the king of 
spades as that is the most prominent ; but, whatever the choice, 



square the cards, draw out the king of spades and thrust it ^nto 
the pocket, announcing that it is the card the spectator thought 
of. Care must be exercised not to let any one see the face of the 
card. Now reverse the cards in your hand and again sDread 
them in a fan, at the same time requesting the spectator to nam^ 
his card. It is obvious that the card he chose is no longer visible. 
If he chose the king of spades, that card is in ^your pocket. If 
he names the jack of clubs, all you have to do is to show that the 
card is no longer in the fan in the left hand and then produce 
the first of the four cards from your pocket. If the spectator 
names the queen of hearts, take out the second card ; if the queen 
of spades, the third card ; and if the jack of diamonds, the fourth 
card. For the reason already given do not allow two spectators 
to look at the fan at the beginning of the trick. The preparation 
of the cards requires delicate work. The pips must be inlaid 
perfectly, and the indices must be drawn with the proper inks. 




Fig. 13 



Fifir. 13 



70 



The Art of Magic 

Neatly made the cards may be handed to a spectator without 
much fear that the preparation will be detected. If the reader 
cannot manufacture a satisfactory set he can purchase the cards 
from the dealers, or, better still, direct from the publisher of 
this book. 

THE PRINCESS CARD TRICK. 

This is the simplest as well as the best method of performing 
the trick, and, as any cards may be used, the most effective. In 
this method the effect is precisely the same — a card is mentally 
selected from four cards and subsequently is discovered in the 
performer ^s pocket. 

The deck is shuffled and while in hands of audience four 
cards are drawn. One of these four cards is mentally chosen, 
and while this is being done the performer palms in the right 
hand three cards from deck, or he may get the cards from his 
pocket, where they were previously placed. We prefer this latter 
method. When the four cards are returned to the performer he 
places the palmed cards on top, squaring the packet so that the 
additional cards will not be noticed. The performer now slightly 
fans the four selected cards, directing the spectator to think 
intently of his card. As he fans the cards the performer notes 
their exact order. A little practice will enable one to remember 
the order of the four cards without the slightest difficulty. An- 
nouncing that you will pick out the card the spectator is thinking 
of, you remove one of the cards and put it in your pocket. At 
least that is what you apparently do. You really take the four 
selected cards, holding them as one card, and thrust them into 
the pocket, leaving the three indifferent cards in the left hand. 
Count these three cards, their backs, of course, being toward the 
audience, and replace them on the deck. When the spectator 
names his card, all the performer has to do is, remembering the 
order of the cards, to produce the proper card from the pocket. 
This can be done very quickly after a little practice. 

THE TWENTY CARD TRICK. ^ 
A clever experiment in pure sleight of hand, which can be 
performed at any time and with any pack of cards. 

Effect. — The conjurer deals two packets of ten cards each, 

71 



The Art of Magic 

after which he lays the pack to one side. He now holds one 
packet in the right hand and the other in the left. One of these 
packets, chosen by the spectators and wrapped in a borrowed 
handkerchief, is given to some one in the audience to hold. Per- 
former now passes three cards, one at a time, from the packet in 
his one hand into the packet held by the spectator, counting the 
cards in his packet after the flight of each card. 

Time Occupied: From three to five minutes, according to 
the amount of patter used. 

Eequisites and Prepaeation : An ordinary pack of cards ; 
no preparation. 

Presentation of Trick. — Invite a spectator to shuffle a 
pack of cards, after which deal two packets of ten cards each on 
the table. Lay the pack to one side. Taking a packet in each 
hand, and holding the arms some distance apart, approach the 
audience and request a spectator to select either the right or the 
left packet. As you say this the hands naturally come together, 
and in that instant three cards are dropped from one packet onto 
the other. The best method of effecting this sleight, in our 
opinion, is as follows: The packets are held in the ordinary 
manner for dealing. While in this position the left thumb pushes 
the three top cards slightly over the end of the packet, where they 
are held separated from the remainder of the packet by the tips 
of the four fingers. Now, as the hands are brought together, the 
right hand is held a trifle lower than the left. The four fingers 
of the left hand are extended quickly, and this movement propels 
the three cards from the top of the left packet onto the top of the 
right-hand packet. If the performer makes a slight turn of the 
body to the left as the hands approach, the movement will be 
facilitated. The success of the sleight, however, depends upon the 
natural method of bringing the hands together at the psychologi- 
cal moment of requesting the spectators to select one of the pack- 
ets. Although the spectators are invited to exercise their own 
judgment, the packet in the right hand is actually forced, by 
the familiar ''Your right or my left" equivoque. Request the 
spectator to throw a handkerchief over the chosen packet and 
to hold it securely. This packet has thirteen cards, while that in 
the performer 's left hand has seven. * ' I am about to present an 
72 



The Art of Magic 

extraordinary experiment," says the performer. ''The gentle- 
man holds ten cards in the handkerchief. I hold ten cards in 
my own hand. I shall endeavor to pass a number of cards from 
the packet from my hand into the packet held by the gentleman. 
Now, watch me carefully ; for here is where I am going to deceive 
you, if possible. One card, pass!" As he speaks the per- 
former covers the packet with his right hand, and, apparently 
taking off a card, tosses it toward the packet held by the specta- 
tor. At the beginning of the throwing movement the right 
hand is held partially closed, as if actually containing a card; 
but at the conclusion of the throwing movement the hand is 
opened, showing the palm empty. Performed deliberately this 
movement is very deceptive. The effect on the audience is that 
the conjurer actually takes a card from the packet and causes it 
to disappear into thin air. ''Did you feel anything, sir?" con- 
tinues the performer. ' ' I am sure that so far the experiment has 
been a success; for I observed a scarcely perceptible movement 
under the handkerchief as the card arrived. You should now 
hold eleven cards instead of ten, and there should be nine cards in 
my packet. Let us see if this is so." 

The performer gives his cards a false count, as described in 
Chapter III, counting the seven cards as nine. Another card is 
passed in the same manner, and the seven cards in the left hand 
are counted as eight. A third card is passed, and, as there are 
seven cards in the packet, the cards may be handed to a spectator. 
The other packet is also counted and is found to contain thirteen 
cards, which, acording to conjurer's logic, is adequate proof that 
the performer has passed three cards invisibly from one packet to 
the other. 

Caution. — There is no weak point in this experiment, and, 
given the requisite skill in false counting and in shifting the 
cards from one packet to the other, there is no reason why the 
experiment should fail. It should be practiced, however. 

Concluding Observations and Suggestions. — If the reader 
finds any technical difficulty in shifting the cards from one packet 
to the other, there is an easier method of performing this part of 

73 



The Art of Magic 

the trick. If what is known as a ''long card" be placed the 
fourth from the bottom in the right hand packet, the performer 
will experience no difficulty whatever in dropping* three cards 
from the bottom of the right hand packet on the top of the 
packet held in the left hand. At the beginning the "long" card 
should be placed fourth from the top, when, after the cards are 
dealt face downward in two heaps of ten, this card will be fourth 
from the bottom of one of the packets. The disadvantage of this 
method is obvious ; and, therefore, the student is advised to prac- 
tice until he can shift the necessary cards from packet to packet 
by pure sleight of hand. 

A COMEDY OF ERRORS. 

This is more of a catch than a conjuring trick, but as it is 
really an ingenious arrangement, and also requires a certain deft- 
ness in execution, it is included in this chapter. The experiment 
is of especial value in an encounter with the disagreeable person 
who knows how all your tricks are done. He will fall a ready 
victim to this attractive snare. 

Effect. — The three of hearts and the three of diamonds 
change mysteriously to aces, and these aces then as mysteriously 
change back to three spots. 

Time Occupied — Two or three minutes. 

Requisites and Preparation — Place the ace of hearts and 
the three of hearts on the bottom of the pack, the three being the 
first card and the ace the second. The ace of diamonds and the 
three of diamonds are placed on top, the ace being the top card 
and the three the second. 

Presentation of the Trick — Hold the pack in both hands, 
the bottom card facing the audience. The pack should be held 
between the thumb and the first fingers at each end, the thumb 
on the back and the first fingers on the front of the pack, in 
such a position that the finger tips cover the outside spots of the 
three, making the three of hearts resemble the ace of the same 
suit. You call attention to the fact that the ace of hearts is on 
the bottom of the pack. As the indexes of the three spot are 
plainly visible the spectators will greet this confident announce- 
ment with a smile of derision, if not with a downright denial. 
The performer, however, pays no attention to the objections of 
74 



The Art of Magic 

the audience, verbal or otherwise, but continues: ''I shall place 
this ace of hearts on the table, ' ' which, apparently, he does. In 
reality, however, he drops the pack to a horizontal position, 
"slips" the three of hearts, and really lays the next card, the 
ace of hearts, on the table. Inserting the little finger under the 
two top cards the performer makes the pass, bringing the ace and 
three of diamonds to the bottom of the pack, the three of dia- 
monds being the bottom card. Repeat the patter and movements 
with the three and ace of diamonds. The spectators, of course, 
by this time are boisterously insisting that the two cards on the 
table are the three of hearts and the three of diamonds, and the 
performer is equally insistent that the two aces are on the table. 
After the spectators have been worked up to the proper pitch 
of excitement, the performer turns over the two cards, and there 
is an embarrassing moment of silence on the part of the specta- 
tors, in whose minds there dawns slowly the suspicion that they 
have been ''sold." While all eyes are on the two aces, the per- 
former makes the pass and brings the two three spots from the 
bottom of the deck to the top. Picking up the two aces, the 
performer exhibits them on all sides to the audience, and in 
turning back toward the table deftly changes the aces for the two 
three spots, throwing the cards face downward on the table. The 
audience thinks, of course, that the cards on the table are the 
aces. "By the way," asks the conjurer, "what cards did you 
really think you saw?" He accompanies the words with a care- 
less gesture in direction of the cards on the table. "The three 
of hearts and the three of diamonds," answers the audience. 
"Well," replies the performer, "you were right. You really 
did see those cards." The performer turns up the two cards, 
and once more the spectators are obliged to confess that they have 
been duped. 

Caution — We see no way by which this little catch can go 
wrong, even in the hands of a performer who is not very skillful 
in sleight of hand. The slip is the simplest of all sleights, and to 
change two cards at once is no more difficult than the change with 
one card. The fact that the audience are in a muddle most of 
the time gives the performer the necessary opportunity to accom- 
plish the various movements. 

75 



The Art of Magic 

Concluding Observations and Suggestions — If the per- 
former is a good talker and is able to feign embarrassment lie 
can work this simple feat np into a really brilliant and bewilder- 
ing trick —which illustrates the truth of the old conjuring 
maxim that it is not so much what you do but the way you 
do it. 

THE SIAMESE ACES. 

Effect — Two aces are removed from the pack, which is then 
cut into three packets. One of the aces is placed on the center 
packet, and while the performer is exhibiting the remaining ace, 
one of the spectators ''maliciously" transfers a few cards from 
either of the outside packets to the top of the center heap. The 
performer, not noticing this disarrangement of the cards, places 
the second ace on top of the first heap. The third heap is now 
placed on top of the first, and the two on top of the middle heap, 
presumably on top of the first ace, although the spectators, who 
blithely imagine they are in a conspiracy against the performer, 
know different. The cards are now dealt from the bottom, face 
upward, and the two aces come together. 

Time — Two or three minutes. 

Requisites and Preparation — An ordinary pack of cards; 
no preparation. 

Presentation of Trick — In taking out two aces — say the 
ace of clubs and the ace of hearts, glance secretly at the top card 
of pack. For the purpose of explanation let us assume that this 
''key" card is the seven of spades. Now cut the pack into three 
heaps so that the top part of the pack will form the center 
heap. You must number the heaps in your mind from left to 
right, 1, 2, 3. The top card of the center heap is the seven of 
spades. Exhibit the ace of hearts, requesting the spectators to 
remember the card, and place it on the center heap. While you 
are exhibiting the second ace (the ace of clubs), move a little 
distance from the cards, and at this psychological moment a 
friend, who acts as you confederate (although the audience is 
not aware of the fact) transfers a few cards from either No. 1 or 
No. 3 to the top of the center heap. You are, apparently, oblivi- 
ous of this manouver, and place the ace of clubs on the No. 1 

76 



The Art of Magic 

heap, concluding by placing No. 3 on No. 1 and these on the 
center heap. Inform the audience that you are about to illus- 
trate for their benefit the surprising amount of affection that 
exists between cards of the same value. For instance, kings asso- 
ciate with kings, queens with queens, jacks with jacks, and aces 
with aces; of all cards, you declare, the aces are the most affec- 
tionate. Between them the bonds of sympathy are so strong 
that if they are separated only temporarily they will exert every 
effort to be reunited. This sympathy is especially strong be- 
tween a red. ace and a black ace — between a club and a heart, a 
diamond and a spade. In fact, each pair may be likened to the 
Siamese twins, except that the bond is sentimental rather than 
material. ''You will observe," adds the performer, ''that the 
ace of clubs and the ace of hearts were placed in different parts 
of the deck but so strong is the affection between these aces 
that I have not the slightest doubt they are at this moment 
reunited in some portion of the pack. Ah, you smile incredu- 
lously ; but I assure you that what I say is literally true, and I 
am prepared to make my assertion good. Observe, pray, that I 
shall deal the cards one at a time on the table, and when I come 
to one of the aces, the other will be with it." The spectators, 
knowing that the cards have been disarranged, smile in expecta- 
tion of the performer's discomfiture. The conjurer proceeds to 
deal the cards from the bottom, throwing them face upward on 
the table. When the "key" card turns up the performer knows 
that the next card is an ace. He slides this ace back with the 
third finger of the left hand, and keeps on dealing until the 
other ace appears, when he throws out the first ace. A flashlight 
picture of the audience at this moment would reveal an interest- 
ing study in chagrin. 

The card sharper works the same effect in a slightly different 
manner. He saunters into a bar-room where, by previous arrange- 
ment, the bartender acts as his confederate. Inviting the habi- 
tues to step up and "liquidate," the affable stranger offers to 
amuse them with a little trick with cards. The bartender pro- 
duces a pack, from which the affable stranger extracts two aces — 
say the two red ones. He then makes two heaps of the pack, and, 
showing both aces to the spectators, places one on top of each 

77 



The Art of Magic 

packet, after which he turns to one side and finishes his glass of 
beer. During which operation the bartender, after winking at 
the crowd, transfers five or six cards from one packet to the 
other. Having finished his drink the stranger proceeds with the 
trick by placing the two packets together. He calls attention to 
the fact that one ace is near the center of the pack and one on 
top. The spectators, however, know that this is not so; for the 
bartender's interference destroyed the arrangement. The 
stranger declares that he will deal the cards from the bottom so 
that the two aces will come out together; and adds that if the 
spectators detect him dealing the top card he will forfeit five 
dollars. Noticing the ill-concealed merriment among the habi- 
tues, the stranger becomes somewhat nettled. ''What will you 
bet the two aces don't come out together?" he says, rather 
angrily. There are always three or four "sports" who are 
willing to wager money on what they regard as a **sure thing," 
and the bartender obligingly holds the stakes. The trickstei 
deals the cards, and, to the consternation of the ''sports," the 
two aces come out together. Moral: Never bet an another 
man's game. 

The trick is worked precisely as described in the three packet 
method. The trickster glances at the top card of the deck and 
this is used as the "key." The bartender watches the performer 
divide the pack into two heaps, so as to know where the "kej^" 
card lays. If the confederate shifted the cards from the wrong 
packet the trick would fail, and the sharper would lose his money. 
But this is precisely what never happens. 

THE CARD IN THE POCKET. 

A rattling good card trick depending absolute^ upon sleight 
of hand and skillful address. It has an advantage over many 
card tricks in that it may be presented anywhere, at any time, 
and with any cards. 

Effect — A spectator shuffles the pack and mentally selects 
any card, remembering its number from the top. When the 
pack is returned the performer holds it behind his back and 
removes a card, which is placed in the coat pocket on the right 
side — or in the trousers pocket if preferred. This is done quite 
78 



The Art of Magic 

slowly, in order that the audience may note every move. The 
spectator is now requested to name the number at which his card 
stood. Let us assume that the number is thirteen. The conjurer 
throws thirteen cards, one at a time, face downward, on the 
table, after which he asks the spectator to show the last card 
(that is to say, the thirteenth card, assumably the one he drew) 
to the audience. The spectator declares that it is not his card. 
''What is your card?" asks the conjurer. "The ten of dia- 
monds," answers the spectator, although, of course, any other 
card might have been selected. "Believe me," replies the con- 
jurer, ' ' I knew your card the instant you made the selection, and 
it is now in my pocket. ' ' The spectator is invited to remove the 
card himself. 

Time Occupied — Three minutes. 

Requisites and Preparation — An ordinary pack of cards; 
no preparation. 

Presentation of Trick — The secret is as simple as it is 
ingenious. After a card has been decided upon in the manner 
described, the performer holds the pack behind his back. He 
now takes any card from the vicinity of the bottom of the pack, 
and, bringing this card forward (keeping its back to the specta- 
tors), places it in the coat or trousers pocket. The right hand is 
immediately withdrawn and the pack taken in that hand. In 
reality, however, the card is not left in the pocket, but is palmed 
in right hand and placed top of the pack in the simple act of 
transferring the pack from the left to the right hand. "Ladies 
and gentlemen, ' ' says the conjurer, ' ' I call upon you all to wit- 
ness the apparent fairness of the experiment. So far I have 
asked no questions, and you must admit that it would be impos- 
sible for me to know what card you mentally selected. However, 
in order to be on the safe side I will deal your card face down- 
ward on the table. "What was your number, sir? Thirteen? 
That's unlucky for me" — or any other remark to suit the occa- 
sion. The performer throws thirteen cards face down on the 
table, requesting the spectator to satisfy himself that the last 
card dealt is the one he selected. The spectator immediately 
denies knowledge of the card in questio.n The conjurer feigns 
embarrassment. ' ' What was vour card ? " he mildly asks. ' ' The 

79 



The Art of Magic 

ten of diamonds," is the answer. ''Believe me," replies the con- 
jurer, ''I knew your card the instant you made the selection, 
and placed it in my pocket." While the attention of the audi- 
ence was focused on the thirteenth card, the conjurer palmed the 
next card, the fourteenth, which, thanks to the fact that the card 
which the performer pretended to put into his pocket was in 
reality placed on top of the pack, is the selected card. The palmed 
card must now be loaded into the pocket. This can be done while 
the spectators are looking at the cards on the table; but the 
better plan is to wait until the performer addresses the audi- 
ence in the words quoted above. As he says ''and placed it in 
my pocket," the performer drops the palmed card into the 
pocket, immediately throwing the palm outward so that it faces 
the audience, the thumb holding the pocket open at the end 
nearest the front. If the body is turned slightly toward the left 
at the instant the card is dropped into the pocket, and the hand is 
immediately turned palm outward, the effect is that the thumb 
only is inserted, in order to facilitate the introduction of the 
spectator's hand. A little practice before a mirror will convince 
the student of the practicability of this move. For this reason 
the coat pocket is preferred to the trousers pocket. 

The following is a more ignenious and interesting method of 
performing this trick : A spectator shuffles the pack and divides 
it into two nearly equal packets. He is then requested to note a 
card in either of the two packets, and to remember its number 
from the top. While the spectator is obeying instructions the 
performer turns his back, or even leaves the room. When the 
card has been selected the performer asks the spectator to indi- 
cate which packet it is in. "Thank you," says the performer, 
"I shall perform the trick with the other packet. He picks up 
this packet, carefully selects a card, and, without showing it to 
the audience, places it in his coat pocket. He really palms the 
card, however, as described in the first method, and picking up 
the packet which contains the selected card, he places the palmed 
card on top. The trick is then concluded in the manner described 
in the first method. 
80 



The Art of Magic 

HOUDINI'S TORN CARD TRICK. 

This simple trick is the invention of Harry Houdini, the 
celebrated ''King of Handcuffs/' We use the word "simple" 
advisedly. The method by which the effect is attained is 
assuredly simple ; but to present the trick effectively requires an 
absolute mastery of the two-hand pass, nothing more nor less. 
At this point we may say that Mr. Houdini performs the conven- 
tional two hand shift noiselessly and invisibly. It is impossible 
for the sharpest eye to detect the slightest movement of the 
packets as they are transposed, even though the performer accom- 
plishes the movement directly under a spectator's nose. The 
ease and celerity with which Mr. Houdini makes the shift is 
remarkable, and goes to prove that there is no limit to the 
dexterity that m&y be attained — and Houdini 's mastery of this 
sleight is the result of fifteen years of assiduous practice. 

Effect — A card is selected from the pack, and the conjurer 
tears off a corner in order that the card may be identified. The 
card is now placed on top of the pack, which is held in the per- 
former's left hand, and, without any visible movement on the 
part of the performer's hands, or apparent manipulation of the 
pack, the top card mysteriously changes into a different card, 
which also has a corner missing. 

Time Occupied — Two minutes. 

Requisites and Preparation — An ordinary pack of cards, 
one card of which, say the eight of diamonds, is prepared by 
tearing off the upper right hand corner. 

Presentation of the Trick — At the beginning of the trick 
the prepared card (the eight of diamonds) is at the bottom of 
the pack. Allow a card to be drawn — it is not necessary to force 
a card for this experiment. While the spectator is noting the 
card, make the pass, bringing the eight of diamonds to the center, 
and insert little finger above it, so that when the pass is made 
again the eight will be brought to the top. The pack is held in 
the left hand in readiness for the pass. Place the drawn card 
on top of the pack, and tear a small piece out of the upper right 
hand corner, taking care that it is about the size of the piece 
torn from the eight of diamonds. Draw attention to the fact that 

81 



The Art of Magic. 

the chosen card is on top of the pack, and as the right hand closes 
on the deck, with the apparent intention of squaring the cards, 
the pass is made, by which move the eight of diamonds is brought 
to the top. As its corner is missing, the spectator will have no 
suspicion that the conjurer has manipulated the cards. The 
performer addresses the spectator as follows : "As you see, sir, 
I place your card on top of the deck, where it is in plain view. 
Watch me carefully so that I shall not deceive you." (By this 
time the spectator is keeping the top card under a steady espion- 
age). "Before proceeding with the experiment, however, it will 
be necessary for me to know the name of the card you drew. The 
ten of clubs? Thank you, sir. But are you sure it is the ten 
of clubs You are? Then, of course, there's nothing more to be 
said. Ah, one moment, please. Are you troubled with astigma- 
tism or myopia? Really, I do not doubt your word, sir, not in 
the least ; but it is absolutely necessary to know the precise card 
you drew, or my experiment, which is of a very delicate nature, 
will be a failure. You say that your card is the ten of clubs. 
The performer slowly turns up the top card, and, if the trick has 
been adroitly performed, the spectator's eyes will boogie out 
when he discovers that his card has changed under his very eyes. 
There is no more to the trick, the whole effect depending upon the 
execution of the two-hand pass. There is one element in the 
performer's favor. The change is accomplished before the spec- 
tator realizes that the trick has actually begun. 

BARRINGTON'S TORN CARD TRICK. 

The author takes keen pleasure in presenting this splendid 
card effect to his readers. It is by long odds the subtlest and 
most mysterious of the many torn card tricks, and is the inven- 
tion of Mr. Frederick Barrington, by whose permission it is now 
explained for the first time in print. The drawing room conjurer 
will find this incomprehensible effect a valuable addition to his 
programme. 

Effect — From the beginning of the performance an envel- 
ope is suspended in full view of the audience. A card is selected 
and torn into four pieces which are handed to a second spectator, 
who selects one of the pieces (not forced). The remaining three 

82 



The Art of Magic 

pieces are burned, the ashes loaded into a pistol and fired at the 
suspended envelope. The envelope is opened and inside a second 
envelope is found ; when this is opened a third envelope is found ; 
and so on until four or five envelope have been opened, the last 
one of which is addressed to the person who selected the card. 
This person opens the envelope and finds his card restored, with 
the exception of one corner. The piece retained by the second 
spectator exactly fits the missing corner. 
Time Occupied — Five minutes. 

Requisites and Preparation — A pack of cards ; a card box ; 
five envelopes, one fitting inside the other, four of them contain- 
ing a card similar to the one to be forced, except that one-fourth 
of the card is missing. The four envelopes are secretly numbered 
1, 2, 3, 4. These envelopes are nested so as to have one card in 
each envelope to match the one to be drawn. The four corners or 
pieces that have been torn from the cards are numbered to corre- 
spond with the cards in envelope. In other words, the envelope 
marked will contain the card whose missing corner is also 
marked These four numbered pieces are placed in a card 

box, or any other piece of exchange apparatus, or they may be 
exchanged by sleight of hand, as the conjurer elects. Each of the 
four envelopes containing a torn card is addressed to the person 
on whom you intend to force a card. The four are then nested 
and sealed and placed inside a large envelope. This is hung in the 
room where you are going to perform. 

Presentation of Trick — Let us assume that the envelopes 
are loaded with duplicate sixes of diamonds. Force a six of 
diamonds on the lady or gentleman whose name is on the nested 
envelopes. He or she is requested to tear the card in half. The 
two halves are put together and torn in half once more, making 
four. Collect these four pieces in the card box, and, in turning 
to request a second person to select a corner, make change in box, 
and, of course, this person will select one of the corners that 
belong to the duplicate cards in the nested envelopes. You must 
notice the number on the selected piece, as the whole trick 
depends upon it. Now burn the other pieces, load the ashes into a 
pistol, and fire at suspended envelope. Open and take out first 

83 



The Art of Magic 

envelope, which is marked No. 1, and inside of which is No, 1 
card. If the spectator selected the corner marked No. 1, then this 
envelope contains the card to match corner. In other words, you 
continue to open the envelopes until you come to the one that has 
the torn card to match the selected piece. You hand the envelope 
to first person to identify the address, and then take out card and 
hand to second spectator to match the corner. Remember, all the 
nested envelopes are addressed to the person who selects the card. 

CARD DISCOVERED BY SENSE OF TOUCH. 
A quick, startling little trick, suitable for any occasion, and 
one of the most effective impromptu effects in the category of 
card magic. 

Effect — The conjurer fans the pack and requests a specta- 
tor simply to touch a card. The pack is immediately closed and 
may be shuffled either by the conjurer or the audience. The per- 
former takes pack in his left hand, riffles the edges with his 
thumb, and instantly the card touched by the spectator appears, 
face upward, on top of the pack. 

Time Occupied — A minute or two. 

Reqihsites and Preparation — A pack of cards ; no prepara- 
tion. 

Presentation — After shuffling the performer fans a pack 
of cards with both hands so that the audience may see the faces. 
He requests a spectator merely to touch the top of one of the 
cards. The cards are spread in such a manner that the performer 
can see the back of the card touched, and at the same moment 
that the spectator indicates his selection the performer bends 
slightly the lower left hand corner of the card. He hands the 
pack to be shuffled, or performs the operation himself. But no 
matter how well the cards are mixed the bent corner makes a 
break by which the chosen card can be instantly located. Direct 
attention to the fact that neither the top nor the bottom card is 
the one selected. Holding the pack to the left ear riffle the 
thumb over the edges of the cards at the left side. This will 
allow you to insert the tip of the thumb under the break made 
by the bent corner. To facilitate this movement the pack is held 
84 



The Art of Magic 

between the first finger of the left hand at the upper end and 
the little finger at the lower end, while the second and third 
fingers assist in steadying the pack at the side opposite the 
thumb. When the thumb is inserted under the bent corner at 
the lower left end it is slid to the center of the pack. The thumb 
raises the upper packet about an inch and a half, imitating 
exactly the movement of making the one-hand Charlier pass. 
When the upper packet has been raised the requisite distance 
the thumb continues its upward movement, the lower card of the 
upper packet (the card with the bent corner) is drawn out in 
the direction of the wrist, and, making a half revolution, falls, 
face upward, on top of the deck. Of course, in actual practice 
this sleight is instantaneous, and if, at the same moment, the left 
arm makes a sort of flourish and at the conclusion the thumb 
riffles the cards, the eye cannot detect the manouver. The sudden 
appearance of the card on top of the pack is startling, particu- 
larly if the pack is riffled at the instant the card is disclosed. 
The reader may deem the trick too simple to add to his reper- 
tory, but we assure him that after a trial he will be convinced 
that it is quite as effective as many more elaborate card experi- 
ments. 

Caution — The student is advised to make the fan of cards 
as wide as possible, so that when a card is touched there need be 
no extra movement of the cards to enable him to bend slightly 
the lower left hand corner. 

Concluding Observations and Suggestions — The bent cor- 
ner idea of locating a card is susceptible to elaboration, and the 
ingenious performer will at times find it a very useful expe- 
dient. 

THE FLYING CARDS (First Method). 
This is one of the standard card tricks, ranking in age and 
respectability with the ''Four Ace'' trick, the ''Rising Cards," 
the "Cards up the Sleeve," and the "Ladies' Looking Glass." 
It is not always entitled the "Flying Cards," but is variously 
known as the "Multiplication of Cards," the "Precipitation of 
Cards," or "From Pocket to Pocket." In some form or other 

85 



The Art of Magic 

it has been described and explained in every pretentious work on 
card conjuring since the time of Robert-Houdin. We shall first 
describe the familiar method of passing several cards from one 
person 's pocket to that of another, for the reason that it is one of 
the most perfect tricks in the whole range of card conjuring ; but 
in the course of explanation we shall introduce several improve- 
ments, which, in our opinion, justify the inclusion of the trick. 
The second method, however, is the invention of Mr. Downs, 
and, if anything, is more brilliant in effect than the old trick. 
In either form, however, the trick is one of the best ever invented 
and should form a part of the programme of every magician. It 
has the advantage of being one of the few card tricks suitable for 
the stage. 

Effect — The performer requests two members of the audi- 
ence to assist in the experiment. One of the volunteer assistants 
counts off thirty-two cards from a shuffled pack, and the other 
assistant verifies the count. The pack of thirty-two cards is 
divided into two packets, and each assistant puts a packet in his 
breast pocket and buttons up his coat. The performer now trans- 
fers any number of cards the audience may determine from the 
pocket of one assistant to the pocket of the other. The assistants 
remove the packets themselves and count the cards in order to 
prove that the performer's commands have been obeyed. 

Time Occupied — In order to get the maximum amount of 
effect, and to invest the trick with the requisite amount of patter, 
at least ten minutes should be devoted to this charming experi- 
ment. 

Requisites and Preparation — A pack of cards ; no prepara- 
tion. 

Presentation of Trick — For this experiment you must have 
the assistance of two volunteers from the audience. Request 
one of the gentlemen to stand on the left of your table and the 
other on the right, squarely facing the audience. Hand pack to 
the assistant on your left to shuffle, after which invite him to 
count off thirty-two cards, one by one, on the table. After he 
has done so request the assistant on your right to verify the 
count. The performer counts out loud, ' ' One, two, three, " up to 
thirty-two, as each card is laid on the table. This double count 
86 



The Art of Magic 

serves two purposes: it corrects any error that the assistant on 
the left may have made in counting, and it drives the fact of 
thirty-two cards being used into the minds of the spectators. 
This last point is very important ; for the effect of the experiment 
is lost if, at its conclusion, some spectator naively remarks that 
he didn't know how many cards were used. It is insistence on 
such little details that makes for effect in a card trick. 

After the second count the performer picks up the thirty- 
two cards, squares them, and while doing so asks the assistant on 
the left if he has an inside breast pocket, and if it is empty. If 
not empty, he requests the assistant to remove its contents for a 
few moments. He makes the same request of the second assistant, 
and, for additional effect, might request the gentlemen to pull 
out the lining of the pockets in order to satisfy the audience that 
they are really empty. While this is being done the performer 
palms four cards and places the remaining twenty-eight on the 
table. Right here we may remark, more or less parenthetically, 
that most writers on magic, in describing this particular trick, 
direct the student to palm five cards. In this important detail, 
as will be hereafter explained, our version of the trick differs 
from all others we have seen. With this exception we shall 
follow more or less closely the admirably clear and logical 
arrangement of the experiment written by Mr. Lang Neil in his 
excellent treatise on conjuring. Mr. Neil's advice to palm five 
cards is sound enough for the stage performer, or for the magi- 
cian who is accustomed to work before large audiences ; but it is 
advice that will often put the drawing-room performer in a pre- 
dicament. 

After the assistants have removed the contents from their 
pockets and proved to the satisfaction of the audience that they 
are empty, request the assistant on the Ijeft to cut the cards into 
two heaps, as nearly equal as possible, and then choose one of 
the heaps. Whichever heap he chooses, request him to pick it 
up, place it in his empty pocket and button up his coat. Now 
request the assistant on the right to count the cards in the 
remaining heap, one by one, on the table. Let us assume that 
there are fourteen cards in this heap. The performer, looking 
directly at the audience, says: ''How many cards has this gen- 

87 



The Art of Magic 

tlemanr' (pointing to the assistant on the left, who has the 
other packet in his pocket). "Yon teU me, sir (turning to 
assistant on the left) . There are fourteen cards on the table and 
fourteen from thirty-two leaves how many?" "Eighteen," 
answers the assistant. ' ' Correct, ' ' replies the conjurer. ' ' There 
are eighteen cards in your pocket and fourteen on the table." 
During the first part of the dialogue, when the conjurer says, 
''You tell me, sir * * * There are fourteen cards on the 
table." he brings the hand containing the four palmed cards, 
down on those on the table, picks up the cards, squares them, and 
requests the assistant on the right to place the packet in his 
pocket and button up his coat. 

Turn to the audience and continue: "Please impress three 
facts upon your minds : first, that the gentleman on the left has 
eighteen cards in his pocket; second, that the gentleman on my 
right has fourteen cards in his pocket ; and third, that during this 
experiment I have not touched the cards. You will remember 
that both gentlemen counted the cards ; the gentleman on my left 
cut the cards, selected one heap, and immediately placed it in his 
pocket, while the gentleman on my right did the same with the 
other heap. Therefore, it is manifestly impossible to accuse me 
of any deception. ' ' This harangue, of course, is all hocus-pocus, 
but the magician must be as skillful in drawing the long bow as 
he is dexterous in handling the cards. This perversion of the 
truth is really the strongest part of the trick; for the fact that the 
packet of cards in possession of the assistant on the left is never 
handled by the performer readily influences the spectators to 
believe that the performer never touched a card during the entire 
experiment. It is unusual, indeed, if, after the performance of 
this trick, the spectators do not comment upon this fact among 
themselves. It is a good thing for the modern magician, that the 
mind of the average spectator is not logical in its workings and 
not given to analyzing from effect back to cause. 

The performer continues : ' ' My trick is this. I purpose to 
take a few cards from the pocket of one of the gentlemen and 
pass them into the pocket of the other gentleman. The spirits of 
magic, as you may know, always work with three numbers — 
three, four, or five. Now, how many cards shall I transfer, 
88 



* 



The Art of Magic 

three, or four — or five?" The emphasis is on the '*four," and 
there is a slight pause before the voice, with a falling cadence, 
utters "or five." The chances are that the audience will say 
*'four," in which event your trick has succeeded without any 
more deception on your part. Should some say three" and 
some say '*five," you ignore these and turn in the direction 
where you heard "four" called, and proceed with the trick. 
This diversity of choice will happen, of course, where there is 
a large audience, — in which case, as we said in the beginning, 
it does not matter if the performer does palm five cards. In a 
small drawing-room performance, however, the conjurer cannot 
afford to burn his bridges behind him, for the reason that where 
there are only a half dozen spectators or so, there is likely to be 
only one response to the performer's request for the selection of 
a number; and if the reply be "three" the performer is not in 
an enviable position, for the expedient commonly resorted to in 
this case does not add to the effectiveness of the trick. We shall 
proceed with the description of the trick, assuming that "four" 
is the number chosen, and, at the end, shall explain an expedient 
of our own for getting out of the difficulty if another number is 
chosen. 

If "four" is the number chosen, address the audience as 
follows: "Ladies and gentlemen, you have determined that I 
shall pass four cards invisibly from the pocket of the gentleman 
on my left into the pocket of the gentleman on my right. Remem- 
ber, you chose your own number — four ! Observe the simplicity 
of the operation." Make a grab in the air near the pocket of 
the assistant on the left and pretend to have caught a card 
between the fingers and thumb. "Ah, yes, here is one card, or 
rather the astral body of a card. Can you see it, sir?" Hold 
fingers toward assistant. "You cannot? Well, that does not 
surprise me, for it is only after long and arduous training that 
one becomes able to detect an astral card. But here it is — ^the ten 
of diamonds." This is all make believe, of course, but the 
naming of the card adds to the verisimilitude of the trick. "I 
shall now pass this astral card into the pocket of the gentleman 
on my right, where it will at once regain its material and normal 
shape." Make a tossing movement toward the assistant on the 

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The Art of Magic 

right. "Did you see it go? No? Well, it traveled at a rate 
of nine thousand million miles a minute. I could hardly see it 
go myself. One card, the ten of diamonds, has passed. I shall 
take the second card on the tip of my wand." While speaking 
the performer touches the outside of the pocket with the tip of 
his wand. Call attention to the fact that the second card, say the 
ace of clubs, is on the tip of the wand, and then pass it into the 
pocket of the assistant on your right. "Two cards have passed 
from one pocket to the other. Now for the third." Again 
grab near the pocket of the assistant on the left ; name the card 
apparently held by the fingers and thumb, and pretend to toss it 
toward the audience, and with the right hand point after it as 
though following its flight with your eye, saying: "There it 
goes, look ! Right down into that corner. No ! it has flown up 
again and hit the ceiling. Ah, here it comes along the edge of the 
wall. There! It has disappeared into your pocket, sir, as a 
homing pigeon darts into its nest. You now have three extra 
cards. The pocket is a little heavier, is it not? Yes, I thought 
so. Now for the fourth. This card you will not see pass, as it 
will travel at the speed of a wireless message. One, two, three, 
pass!" Make a rapid sweep with the right hand, which holds 
the wand, from the left to the right. ' ' I have passed four cards 
from the pocket of the gentleman on my left into the pocket of 
the gentleman on the right. At the beginning of the experiment 
the gentleman on my left had eighteen cards. He should now 
have fourteen cards. The gentleman on my right had fourteen 
cards. He should now have eighteen cards. Remember, my 
hands have not touched the cards during this experiment. Now, 
sir (to the assistant on the left), take the cards out of your 
pocket and count them one by one on the table, so that every one 
may see and hear. You had eighteen cards, and you now have 
fourteen. " As he throws the cards down one by one, you count 
with him, and when you come to the last, or fourteenth card, you 
add, "You see, you have lost four cards; so you, sir (turning 
to the other), must have the four extra cards in your pocket. 
Will you, please, take out your cards and count them." He 
counts, "One, two, three," up to fourteen (the number he had 
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The Art of Magic 

originally) when you join in counting with him, fifteen, six- 
teen, seventeen, eighteen." 

Now let us consider the possibility of the audience not being 
complaisant enough to choose the number ' ' four. ' ' Let us sup- 
pose that of the three magic numbers they choose ''five." The 
performer need not be disconcerted. ''Very well," he rejoins, 
"the audience elect that I shall transfer five cards from the 
pocket of the gentleman on my left into the pocket of the gentle- 
man on my right. So be it. Shall I pass the cards visibly or 
invisibly?" The answer is always "visibly," for an audience 
can never resist an opportunity to see how it is done. "Visibly? 
Very well. Nothing easier, I assure you. Will you, sir, (turn- 
ing to the gentleman on the left) place your hand in the pocket 
containing the cards? Now take out one card. Thank you. 
Now you, sir, (turning to the gentleman on your right) will you 
be so kind as to place this card into your pocket? Thank you. 
One card, ladies and gentlemen, has passed. I shall not proceed 
to pass a second card visibly from one pocket to the other." 
But by this time the audience is laughing, and one or two spec- 
tators are protesting that it is no trick at all, that any one could 
pass cards that way. Whether they say so or not, you imagine 
they are making some such comment. " Ah, " you say, in a rather 
grieved tone, ' ' I heard some one whisper that I was perpetrating 
a practical joke. I assure you that such is not the case. Believe 
me, I would not hoax my audience in such a way. I am merely 
carrying out your own directions, to pass five cards visibly from 
the pocket of this gentleman into the pocket of this gentleman 
on my right. One card has passed visibly, and if you will have 
patience I shall make the other four cards pass in the same 
manner. Ah, you smile. That is no trick, you say. I agree with 
you perfectly. But your conditions left no alternative. In order 
to pass a card visibly it must be done by material means. Now, 
if you had said invisibly, that would have been another story. 
In that case I would have recourse to the marvelous principles of 
the magic art. Perhaps you would like to have me pass the other 
cards invisibly. Very well. It will be more difficult, of course ; 
but I shall take pleasure in proving to your satisfaction that my 
experiments are not practical jokes." 

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The Art of Magic 

The reader will understand that by this stratagem he has 
succeeded in getting the extra card into the pocket of the assist- 
ant on the right, and this, too, in the most natural manner, with- 
out arousing the slightest suspicion. Indeed, if the performer is 
a good actor, and has a ready tongue, he will be able to get a good 
deal of comedy out of the incident, and the trick will really have 
more effect than if the audience had chosen ''four" in the first 
place. Far from believing that the conjurer is in a difficulty, 
they will believe that it is a part and parcel of the trick. And 
having seen one card pass by material means they will marvel 
all the more when the performer passes the other four cards 
invisibly from one pocket to the other. In fact, the mixing of the 
material and the magical is so effective that the conjurer may 
consider himself fortunate if the audience choses '*five" instead 
of ''four.'' 

If "three" is chosen, the modus operandi is varied in one 
detail. The "visible or invisible" expedient is worked in the 
manner described, but the visible card is passed from the gen- 
tleman on the right into the pocket of the gentleman on the left 
(for which reason nothing is said about passing the cards from 
left to right until after the number has been chosen. Now in 
passing the three cards invisibly they are passed from the pocket 
of the gentleman on the left, into the pocket of the gentleman on 
the right, as in the two former instances. The performer should 
call attention to the increased difficulty of the experiment, inas- 
much as he will cause the card that has just been visibly trans- 
ferred from right to left, to travel back invisibly from left to 
right, followed by two other cards. The reader, however, will 
seldom have to take advantage of this expedient, for the number 
chosen will almost invariably be four or five, and usually four. 

Caution — There is no reason why this trick should fail in 
the hands of even an indifferent performer, for exceptional skill 
is not demanded. The only sleight employed is the palm. A 
good deal of practice is necessary, however, to develop the dra- 
matic features, or the plot, so to speak. Presented with clever 
patter, there is no trick in the whole range of card magic that 
has more effect. 
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The Art of Magic 

Concluding Observations and Suggestions — Some per- 
formers present this trick with forty cards, or even with a com- 
plete pack. This is a mistake ; for the time consumed in counting 
the extra cards detracts materially from the effect. Indeed, 
thirty cards are sufficient. 

THE FLYING CARDS (Second Method). 

This method is the invention of T. Nelson Downs, and in 
clever hands is a remarkably fine piece of card deception. It 
demands a greater degree of dexterity than the first method, 
more address on the part of the performer, and — shall we call it 
sangfroid or boldness? The effect, however, is so startling that 
the trick is well worth the time spent in mastering it. 

Effect — Two spectators are invited to assist the performer. 
They stand on either side of the table, as in the first method. 
One of the assistants counts thirty-two cards on the table. The 
performer then takes this packet and requests the assistant on his 
left to hold out his right hand. The performer counts, slowly 
and distinctly, sixteen cards, placing each card unmistakably on 
the palm of the assistant's hand. The remaining sixteen cards 
are then given into the keeping of the assistant on the right. 
The two assistants hold their respective packets tightly in their 
hands. Now a third spectator is invited to assist in the experi- 
ment. He is requested to select a numb|p of cards from the 
T>acket held by one assistant and to add the cards to the packet 
held by the other assistant. The performer then causes the cards 
that have been visihhf transferred from one packet to the other 
to return invisihhf, so that both assistants, at the conclusion of 
the experiment, have sixteen cards, as at the beginning. 

Time Occupied — About eight minutes. 

Requisites — An ordinary pack of cards ; no preparation. 

Presentation of the Trick — Invite two members of the 
audience to assist you, and station them on either side of the 
table. Request the assistant on your right to count thirty-two 
cards on the table. When this has been done, the performer 
picks up the packet and requests the assistant on the left to hold 
out his right hand. He then deals sixteen cards, one at a time, 
on the palm of the hand. So far there is no deception ; but, as 

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The Art of Magic 

the acute reader has already guessed, more than sixteen cards are 
really put into the assistant's hand. This is how it is accom- 
plished : When you have placed the sixteenth card in the assist- 
ant 's palm, your own hand naturally returns to the packet, and 
as it does so three cards are quickly palmed. * ' How many cards 
have you, sir," the performer asks of the assistant on the left. 

Sixteen," answers the assistant. "That is correct," replies 
the performer. *'Now, sir, will you place this packet of sixteen 
cards between your hands like this?" The performer slaps his 
right hand over the packet in the assistant's hand, which, of 
course, adds the three palmed cards to the sixteen. The assistant 
now has nineteen cards, but if the performer has managed hig 
part of the experiment in an easy manner neither the assistant 
nor any one in the audience will have any suspicion that any 
cards have been added to the packet. Of course, this part of the 
trick must be adroitly performed, and at the outset the student 
will find it rather difficult to palm three cards quickly and 
smoothly. A very good way is to palm the three pasteboards 
before counting the cards on the assistant's hand. After the 
assistant on the right has counted thirty-two cards on the table, 
the performer, in picking up and squaring the packet, palms 
three cards in the right hand. He holds the pack in the left 
hand and with this hand deals sixteen cards on the assistant's 
hand, the right hand, with the palmed cards, hanging naturally 
at his side. Everybody, of course, watches the left hand. Deal- 
ing with one hand is not difficult. The thumb simply pushes 
each card off the pack. When the sixteen cards are dealt on the 
assistant's hand the performer drops the remainder of the pack 
on the table. After the one-hand deal the cards naturally lie 
rather awry in the assistant's hand, and nothing is more natural 
than that the performer should square them with his right hand, 
at the same time requesting the assistant to cover the packet with 
the left hand and hold the packet tightly. Of course, in the act 
of squaring the cards the three extra pasteboards are added. 
Now lead the assistant forward three or four steps, and request 
the other assistant to take the remaining sixteen cards from the 
table and hold them tightly between his hands. Invite a third 
spectator to take part in the experiment, and as he comes for- 
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The Art of Magic 

ward ask him to draw a few cards from the hands of either 
assistant. ''Just take a few cards," says the performer, care- 
lessly, "but be sure to take an odd number, for the spirits of 
magic, like Rory O'More, prefer odd numbers. Should you 
select an even number the experiment might fail." You appar- 
ently give him the option of selecting cards from either assistant, 
but in reality he is not allowed to exercise any choice. It will 
be remembered that the assistant who holds the packet of nine- 
teen cards stands well in front of the table, while the assistant 
who holds the packet of thirteen cards stands at the rear of the 
table. As the third spectator comes forward the performer 
stands a little to the right and just back of the forward assistant, 
so that he spectator, if he elected to choose cards from the assist- 
ant at the rear of the table would have to walk around the for- 
ward assistant as well as around the performer and the table 
in order to reach the second assistant. This he will not do. He 
will follow the line of least resistance, and take the cards from 
the forward assistant. It is essential that the spectator should 
take exactly three cards. If the assistant holds the cards tightly 
between his hands, as requested, it will be difficult for the spec- 
tator to take many cards, and, as you have impressed upon him 
the necessity of selecting an odd number, there really is not one 
chance in a thousand that he will take more than three, A 
single trial will convince the reader that there is nothing to be 
afraid of at this stage of the trick, provided the assistants are 
properly arranged, and the forward assistant holds the cards 
tightly between his hands. When the spectator has selected the 
cards the performer asks how many cards he has selected. The 
spectator replies ''three." "Yery well," adds the performer, 
' ' I wish to impress upon your minds, ladies and gentlemen, what 
has been done. This gentleman," pointing to the spectator, "has 
taken three cards from the sixteen held by the gentleman on my 
left. He had his own choice of packets and selected his own 
number of cards. Will you be so kind, sir, as to place the three 
cards on the packet held by the gentleman on my right? Thank 
you. The gentleman now has how many cards in his hands? 
Nineteen ! Correct. And this gentleman (pointing to assistant 
on the left) how many cards has he left? Thirteen? That is 

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The Art of Magic 

correct. Now, my trick is this: I propose to make the three 
cards pass back, invisibly, into the hands of the gentleman from 
whom they were taken originally. Observe the simplicity of the 
operation.*' It is not necessary, however, to explain the con- 
clusion of the trick, as the performer can make use of the patter 
presented in the first method. 



96 



CHAPTER V. 



Sleight of hand with cards (continued). 
THE CARDS UP THE SLEEVES (First Method). 
This is one of the stock feats of the magician, and one of 
the best; and as aged, probably, as the Rising Cards and the 
Four Ace trick, though not susceptible of so many variations. It 
was a major card experiment in the days of Robert-Houdin, and 
today is found in the repertory of every performer who handles 
the cards with any pretension to skill. Unfortunately, however, 
the trick is not always performed so dextrously as it deserves; 
and even professional magicians sometimes come a cropper, so 
to speak, when essaying this feat. The trick is performed in a 
score of ways; every performer worth his salt having his own 
method of performing it and his own peculiar wrinkles. Some 
conjurers pass the whole pack up the sleeve, while others execute 
the trick with twelve cards. Many magicians pluck the cards 
from the waistcoat, as was the custom in Robert-Houdin 's day; 
some produce the pasteboards from the coat pocket; and still 
others — and they are in the majority — pass the cards into the 
trousers pocket. Some writers on magic affect to regard it as 
bad form for an entertainer to put the hand in the trousers 
pocket: but in our opinion there is nothing obnoxious in the 
practice; and we hold it ridiculous to imagine for an instant 
that even the most fastidious audience will take offense at the 
trick performed in this manner. We shall describe several 
methods of performing this interesting feat of sleight of hand, 
leaving the reader to select the one that appeals to his artistic 
conscience; but we strongly recommend the student to master 
each method; for versatility will stand him in good stead if he 
is called upon to perform the trick more than once before the 
same audience. 

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The Art of Magic 

Effect — The performer holds twelve cards in the left hand 
at arm's length, and causes them to pass, one at a time, along 
the sleeve into either the waistcoat or trousers pocket. 

Time Occupied — About five minutes. 

Kequisites and Preparation — A pack of cards ; no prepara- 
tion. 

Presentation of Trick — First Method : This is the method 
employed by Mr. Downs. The performer should wear trousers 
with pockets that open along the seam on the side, or else have 
a double pocket on the right side, so that a number of cards may 
be concealed, although the pocket is pulled out in order to con- 
vince the spectators that there is no hocus-pocus. If the single 
pocket is used, the cards are pushed to the extreme top corner 
remote from the opening. "With the cards in this position the 
pocket may be turned inside out without the slightest danger of 
exposing them. This method is more artistic than the double 
pocket. 

Before presenting the trick conceal three cards in the pocket. 
The performer offers the pack to be shuffled, and while this 
operation is being performed he pulls out the trousers pocket 
and draws attention to the fact that it is empty. He leaves the 
pocket hanging out for the time being. When the pack is 
returned he counts off twelve cards, laying the pack on the table 
two or three inches to the left of the packet containing the 
twelve cards. In squaring up the twelve cards, three cards are 
palmed off in the right hand. The packet of nine cards is taken 
in the left hand, and at the same time the right hand picks up 
the deck, of course replacing the palmed cards, and with the 
same movement the pack is handed to a spectator to hold during 
the experiment. The performer draws particular attention to 
the fact that he has only twelve cards in his left hand, and also 
to the empty pocket ; and carelessly showing that the right hand 
is empty he pushes the pocket back into place. Now, holding the 
cards at arm's length in the left hand, the performer announces 
that he will cause them to pass up his sleeve, one at a time, and 
travel into the trousers pocket, which has just been shown empty. 
He riffles the cards (which is done by running the third or 
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The Art of Magic 

little finger sharply across the edges of the corner of the pack, 
making a clicking sound), and carelessly showing his right hand 
empty, although not verbally calling the attention of the specta- 
tors to this fact, he thrusts it into the pocket and slowly produces 
one of the three cards. If the other two cards are still in the 
upper corner of the pocket, as in the beginning of the trick, the 
performer can show the pocket is empty after each production. 
If the pocket is shown empty at the beginning and the conclu- 
sion of the experiment, however, the natural inference is that 
it was empty throughout the trick, and that the cards in some 
mysterious manner really found their way invisibly into the 
cloth receptacle. After the production of the first card, the per- 
former really has nine cards in his left hand, but not minding 
this fact he says: ''One card has passed. Eemember, we had 
twelve cards in the beginning, and, therefore, we should have 
eleven cards left. Let us see if this is correct.'' The con- 
jurer miscounts the nine cards as eleven, slowly and distinctly, 
in the manner described in ''The Twenty Card Trick." The 
second card is now snapped into the pocket, and the nine cards 
in the left hand are miscounted as ten. A third card is then 
caused to pass along the sleeve and thence into the pocket, and 
the cards in the left hand are counted as nine. There is no 
miscount this time. While counting the cards the performer 
inserts his little finger underneath the seven top cards, and in the 
act of squaring up the packet the seven cards are palmed in the 
right hand and pocketed in the act of showing that the pocket 
is still empty. The cards are produced from the pocket one or 
two at a time until the last two are reached. Let us assume that 
these two cards are the king of clubs and the three of hearts. 
Hold one in the left hand and the other in the right, both cards 
facing the audience. "Which card shall I niake go up the 
sleeve first?" asks the conjurer. "The king of clubs? As you 
will. King of clubs pass! Did you see it go? No? Well, it 
went up the sleeve like a bolt of lighting, and here it is in the 
pocket." This last effect is simple. When the spectators choose 
the card that is to pass up first (in this instance the king of 
clubs) yon return the card to the left hand, in the rear of the 
other card. In this case the king of clubs is back of the three of 

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The Art of Magic 

hearts, and the two are held horizontally, facing the audience. 
The king of clubs, the rear card, extends below the three of 
hearts about three quarters of an inch. The two cards are held 
between the thumb and the second finger of the left hand. In 
order to make the king of clubs vanish, the right hand covers 
the greater part of the three of hearts, and also the portion of 
the king of clubs that extends below the front card. By a rapid 
downward sweep of the right hand the rear card is carried away 
in the right palm. The card may be held in the palm or between 
the fingers and thumb, and the student need not be at all alarmed 
if a goodly portion of the pasteboard is visible. The eyes of the 
spectators will not follow the movement of the right hand. Their 
eyes are on the two cards in the left hand, and, therefore, the 
performer must also keep his eyes focused on the card in that 
hand. As the right hand moves away it presses rather heavily 
on the front card, which causes a loud click the instant the two 
cards are separated, and this noise materially assists in deceiving 
the audience. The effect on the spectators is that the card leaves 
the left hand at the instant the click is heard; but curiously 
enough no suspicion is attached to the right hand, which imme- 
diately plunges into the pocket and slowly produces the card. 
This is a singularly effective sleight, as a single trial will con- 
vince the reader. One card remains. This is held for a moment 
in the right hand ; it is then apparently placed in the left, but is 
really palmed in the right. The back of the left hand is turned 
toward the audience, as if containing the card. After a slight 
crumpling movement of the fingers the left hand is turned over 
and shown empty, and an instant later the right hand produces 
the card from the pocket. 

CAKDS UP THE SLEEVE (Second Method). 

The effect of this method is more elaborate than the one just 
described, as not only twelve cards are passed along the sleeve 
into the right trousers pocket, but afterwards the remainder of 
the pack passes up the right and left sleeves alternately. This is 
a brilliant and bewildering card experiment, but demands excep- 
tional ability to palm, both with the right and left hands, and 
also considerable address on the part of the performer. In order 
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The Art of Magic 

to get the maximum of effect the conjurer should not attempt to 
accomplish the trick under at least eight minutes, for a certain 
amount of patter is necessary to a complete illusion. 

A pack of cards is offered to a gentleman in the audience to 
shuffle, and upon the cards being returned to the performer he 
divides the pack into four heaps on the table. One of these 
packets is freely chosen by the audience, the performer shuffles 
it and deals twelve cards on the table, remarking that as the 
audience selected the packet there can be no possibility of the 
performer possessing duplicates of the twelve cards. The re- 
mainder of the cards and the packets are stacked together and 
laid to one side, preferably at the upper hand of the table — that 
is to say, the performer's left hand. The performer, standing on 
the right of his table, picks up the packet of twelve cards and 
passes them rapidly from right to left, requesting the audience 
to remember the cards. The cards are passed so rapidly, how- 
ever, that the audience cannot remember more than one or two, 
and he offers to show them again, this time more deliberately, 
counting each card as it is passed from the left hand into the 
right. When he comes to the seventh card it is placed a little 
below the others, so that its lower end projects about half an 
inch below the packet of six, forming what gamblers call a ' ' jog. ' ' 
The remaining five cards are placed in the same position, the 
"jog" marking the division between the two packets of six cards, 
so that in the act of squaring up the cards the performer will 
have no difficulty in palming the top six cards of the packet. The 
squaring up and the palming of the cards should be practially 
one movement, and the instant the cards are palmed the other 
six are taken between the thumb and first finger of the right 
hand. The left hand is extended and carelessly shown to be 
empty. Any exhibition of haste or nervousness at this point 
should be avoided ; for this is the crucial stage of the trick, and 
if the right hand is held easily and naturally the spectators will 
never dream that the performer has palmed any cards. Begin as 
follows : 

*'My object in this experiment is to illustrate the possibili- 
ties of the sleeve in conjuring. I am aware that most presti- 
digitators are averse to acquainting their audiences with the 

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The Art of Magic 

secrets of their profession ; but I believe that it adds zest to an 
entertainment to reveal, occasionally, a secret or two of this 
fascinating art. It is my purpose, therefore, to show you how 
magicians make use of the sleeve. Magicians, as a rule, pooh- 
pooh the idea that the sleeve is employed for the purpose of 
secreting articles; but you know as well as I do that their de- 
nials must be taken with a grain of salt. As a matter of fact, 
the coat sleeve is to the conjurer what a trunk is to a woman 
going on a summer vacation. It is the receptacle of his para- 
phernalia. It is the hiding place of the rabbits and elephants 
and kangaroos and other wild animals that he so deftly pro- 
duces from a derby hat. Where does he get his endless supply 
of roses, of eggs, of bonbons or feathers? From his sleeve! 
Where do the cannon balls and bird cages and even his ladylike 
assistants disappear? Up his sleeve, of course! I shall prove 
the truth of the sleeve theory by a demonstration. Now, watch 
me carefully. I shall place these twelve cards in my left 
hand.' Of course, you only place six cards, but in magic the 
maxim is that the truth is not to be told at all times. "You 
will observe that every time I make a click like this (riffling 
the cards with the third or little finger) one card will leave 
the packet, travel up the sleeve (here the conjurer gives a 
dainty little pull with the right hand at the left elbow) and 
pass invisibly into my pocket, which, as you see, is quite empty." 
Suit your actions to your words and thrust the right hand into 
the trousers pocket, hiding the six palmed cards in the upper 
corner and pulling out the pocket as explained in the first 
method. ''Now, ladies and gentlemen, please watch me very 
closely and perhaps you will see the cards pass. Observe that 
the pocket is absolutely empty." Here you slowly replace the 
pocket, and once more take the cards in the right hand, in 
exactly the same position as before. "Once more I place the 
twelve cards in the left hand. I shall now make the first card 
pass." The click is made, and the right hand plucks at the left 
elbow. "One card has passed. Did you see it go? No? Well, 
sometimes the cards pass so rapidly that it is almost impossible 
to see them. But I felt the jar when it flew into my pocket. 
By the way, does any one remember what the first card was? 
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The Art of Magic 

The queen of diamonds. (It will be recalled that when the per- 
former passed the cards slowly from the left hand to the right, 
at the beginning of the track, he urged the spectators to remem- 
ber the cards.) Then the queen of diamonds must be in my 
pocket." Carelessly showing the right palm, the hand is thrust 
into the pocket and the card slowly produced. Throwing the 
card on the table, remark, ''Now I have eleven in my hand. I 
shall make another pass into my pocket." Execute the riffle 
again, pluck at the left elbow, and take the second card out of 
the pocket. "Another," and a third card is removed. "An- 
other." and the hand plunges into the pocket, but is withdrawn 
without a card. "That's strange,' remarks the performer, with 
a slight emotion of embarrassment. "I seldom fail in this ex- 
periment, especially when explaining it." While speaking he 
pats his clothes on the right side with his right hand, then across 
the breast, and down the left arm, until he comes to the left 
elbow. "Ah," he remarks, "it jammed at the elbow. If often 
does that unless I am careful." Lightly jerk at the coat sleeve. 
"There it goes. I felt it arrive," and quickly pull out the card. 
Another riffle, a little pluck at the left elbow, and the fifth card 
is removed. 

"Five cards have passed up the sleeve and into my pocket. 
How many should I have now in the left hand?" "You, sir (to 
any gentleman in the audience). Five from twelve?" "Seven," 
is the answer. ' ' Thanks. Let us see if the gentleman is a good 
mathematician." Count the cards. As the performer has put 
six cards he executes the false count, making it appear that he 
has seven cards. With the cards in the left hand, and once 
more showing the pocket empty, the conjuror walks among the 
audience and requests two spectators to hold his wrists. "Seven 
cards in my left hand and the pocket empty. I shall command 
another card to pass. Hold my wrists as tightly as possible.'' 
Again the riffle and the performer makes a slight lunge for- 
ward, announcing that the card has arrived in the pocket. The 
spectators will look as if they doubted this, but the assistant 
holding the right wrist is requested to put his hand into the 
performer's pocket. He does so, and to his amazement dis- 

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The Art of Magic 

covers that the performer has told the truth. The card is pro- 
duced, and the performer, while in the midst of the audience, 
counts the six cards remaining in the left hand. 

In squaring up the six cards the performer apparently 
places them in the left hand, the back of which is immediately 
turned toward the audience; but he really palms them (face to 
the palm) in the right hand. The left hand is now turned 
around and exhibited empty, and the cards are produced from 
the mouth, see Fig. 5. Again the performer squares up the six 
cards, during which manouver the top three are palmed. Re- 
marking that ''the cards can go all in a bunch or one at a time," 
he introduces the three cards into the pocket and takes out one. 
"One more card. That makes seven. Another! That makea 
eight. I should have four cards in my hand." The performer 
rapidly counts the three cards as four. "I shall make another 
card pass. Watch me closely." Click! The card is taken out 
of the pocket. "Three remain. Shall they go singly or to- 
gether? Very well." The performer does not wait for the 
spectators to express their prefcTence, but immediately takes 
the three cards in the right hand, back palms them, quickly re- 
covering them fanwise from behind the right knee. He places 
them in the left hand, face down, in about the position that cards 
are held for dealing, the thumb near the top of the cards. The 
instant the cards touch the left palm, the hand is turned over 
so that the back is toward the audience, and during the move- 
ment the left thumb pushes upward, which causes the cards 
to rise up above the hand. In order to explain the move clearly 
we have mentioned the left hand only. But in reality the right 
hand plays just as an important part in the manipulation as 
the left. As the cards are placed in the left hand the four 
fingers of the right are placed at the upper edge of the cards, 
and as the left hand is slowly reversed the right fingers press 
down on the cards until the upper end is flush with the extended 
first finger of the left. In this position, when the hand is re- 
versed, the left thumb is naturally across what is now the lower 
edge of the cards. The four fingers of the right hand make a 
slight rubbing movement across the lower part of the left hand, 
104 



The Art of Magic 

and this movement conceals the left thumb, which pushes the 
cards up behind the left hand. The effect to the eye is that 
the rubbing movement of the right finger tips causes the cards 
to rise behind the left hand. The illusion is perfect and very- 
effective. It is essential that the two hands should work in 
harmony, and there must not be a break in the movement. In 
actual practice the various details of the sleight become one move- 
ment. The right hand places the cards fan wise (as taken from 
the right knee) into the left hand, and while the left fingers 
are squaring the cards (between the fingers and the crotch of 
the thumb) the tips of the four fingers of the right hand cover 
the top edge of the cards, the left hand begins to reverse, and 
simultaneously the right fingers push downward on the cards. 
The moment the hand is reversed the left thumb continues 
the work of the right fingers, pushing the cards up instead of 
down, and while the right fingers are lightly brushing the back 
of the left hand, the cards rise slowly behind the hand. There 
is no cessation of movement. As the cards rise the performer 
remarks: "That is the way the cards really go up the sleeve. 
I shall do it again more slowly so that you can actually follow 
the cards as they pass into the sleeve." 

While talking turn over the left hand and take the cards once 
more in the right. Immediately replace them in the left hand 
as before. The right fingers are immediately placed on the top 
edge of the cards, only this time the upper corners are gripped 
between the first and second fingers and the third and little 
fingers. In other words, the cards are held exactly as in the 
familiar manipulation of the continuous palm with cards. The 
right fingers, which have the same appearance as before (the 
corners of the cards not showing between the fingers) push 
down on the cards, as in the first instance, and the left hand is 
reversed as before. But this time, at the beginning of the re- 
verse, the left thumb is withdrawn from the back of the cards, 
the right hand, which holds the cards, completely covering the 
movement. The right fingers stroke the back of the left hand, 
as before, and then move slowly toward the left elbow, the effect 
on the audience being that this movement has something to do 

105 



The Art of Magic 

with the passage of the cards up the sleeve. The moment the 
right fingers reach the elbow the left hand is turned palm to 
the audience, the fingers outstretched, and at the same instant 
the right hand goes back of the left elbow, and under cover 
of the sleeve the cards are back palmed and the right hand 
brought down again, palm to the audience, the finger tips touch- 
ing the tip of the left elbow. Both hands are thus shown empty. 
Hold this position long enough for the spectators to realize that 
the cards have actually disappeared. 

The left arm is now lowered slightly until the coat sleeve 
covers the palm of the right hand, when the cards are reversed 
into the palm. The two hands fall down in front of the per- 
former and swing into their natural positions on the left and 
right sides. The right hand is then thrust into the pocket and 
the three cards removed one at a time. We have described this 
vanish and reproduction of the last three cards at great length, 
but we wish to make every detaiL clear, for it is by far the most 
effective method of performing the concluding movement of the 
cards up the sleeve. 

With the majority of performers the trick ends at this 
point, and the reader may make his bow if so disposed. It is 
highly effective, however, to continue the trick until all the 
cards of the pack have passed up the sleeve and been produced. 
This requires exceptional dexterity in palming, and a goodly 
store of audacity. 

Leaving the twelve cards on the table the performer takes 
up the pack, as if the trick were concluded. Squaring up the 
pack he palms ten or twelve cards, and remarks: ''Now that 
you know how the trick is done, you can do it yourself after a 
few years of practice. After ten years you should attain the 
requisite rapidity and accuracy. I have been doing this trick 
for so many years that I can often make my hands move faster 
than the cards. For instance," (the performer holds pack in 
left hand and riffles the cards three times), shall send three 
cards up the sleeve and intercept them at the shoulder. Here 
they are," producing three cards. As he says the words ''inter- 
cept them at the shoulder," he thrusts the right hand into 
106 



The Art of Magic 

shoulder of coat and leaves the palmed cards on the right shoul- 
der, where they are held securely by the pressure of the coat. 
He takes out three cards and tosses them on the table. ''Let 
us try it again." Three more riffles of cards, and the right 
hand, pahn unmistakably empty, sweeps quickly to the right 
shoulder and removes three cards. By this time the audience 
will be on the alert and determined to catch the performer ; and 
undoubtedly were he to continue to palm cards from the top of 
the pack he would meet his Waterloo. The spectators are 
watching the right hand like lynxes, and it is at this critical 
moment in the trick that the performer baffles the enemy com- 
pletely by a strategic movement that makes the trick more 
mysterious than ever. He palms a dozen cards in the left hand 
from the bottom of the pack, and goes on producing them from 
the left shoulder. As the method of palming more than one 
card in the left hand is not very well known we shall describe 
this movement at length. 

After the reproduction of the last three cards from the 
right shoulder, the right hand grasps the pack, which is in the 
left hand, the left arm being outstretched. The spectators, 
shrewdly guessing that the performer is up to something, is 
watching the two hands very closely. The right hand must seize 
the deck in a particular manner, which must be thoroughly 
understood in order to accomplish the sleight easily and with- 
out detection. Seize the deck with the right hand on top, be- 
tween the first joints of the second and third fingers at the upper 
end, and the thumb at the lower end, the fingers close together, 
and the third finger and the thumb close to the right corners, 
so as to expose as much of the deck as possible. The left hand 
changes its position and seizes the deck at the lower end (the 
right thumb end), between the first and second finger tips and 
the crotch of the thumb, the thumb lying straight across the top 
close to the lower end. If this position is accurately attained the 
tips of the left thumb and second finger touch the right thumb, 
as all three are at the same corner of the deck, and almost all of 
the deck is exposed. At the beginning the deck is held perpen- 
dicularly, the right edge pointing toward the audience. The 

107 



The Art of Magic 

performer, whose right side has been toward the audience, now 
makes a half turn, so that his left side is toward the audience. 
During this turn the two hands, aU the time together, make the 
swing from left to right. The cards are pahned in the left hand 
during the swing. To palm, grip the bottom cards (say a dozen, 
or as near that number as can be determined by the sense of 
touch) at the lower right corner with the tip of the left second 
finger, pressing the packet in against the root of the thumb, and 
pull down over the tip of the right thumb about a quarter of an 
inch. This will cause the outer-end corner of the under cards 
to project a little at the side, under the right third finger. Catch 
the projecting corner with the right little finger-tip, pressing the 
cards firmly against the palm under the left thumb, and draw 
them in toward the right thumb, at the same time straightening 
out the left fingers, until the under cards lie fairly along the left 
palm. Slightly close the left hand with the palmed cards. This 
palm can be made undetectably if the hands are at rest, for 
movement, when once the knack is attained, is simple and rapid ; 
but in order to perform it neatly the exact position of the cards 
must be understood. With the swing of the two hands from left 
to right, during the half turn of the body, the palm is greatly 
facilitated. 

After the half turn of the body the right arm is outstretched, 

and the cards are held in the right hand exactly as in the left. 

A riffle is made with the right fingers, and the left hand is thrust 

into right shoulder, withdrawing three of the palmed cards, 

leaving the remainder in the shoulder of the coat. ' ' They travel 

equally well through either sleeve," remarks the performer. 

Riffle the pack three or four times and produce some more cards 

from the left shoulder. Transfer the pack to the left hand, and, 

with a careless wave of the right hand to show the palm empty, 

click the cards, and after each click remove a card from the left 

shoulder; and then transferring the pack to the right hand 

repeat the same movements with the left hand, taking out cards 

from the right shoulder after each riffle, until the stock of cards 

under the coat is exhausted. This part of the trick should be 
108 



The Art of Magic 

done rapidly, with no pause between the productions, and the 
movements of the hands should be such that the right and left 
palms are always shown empty. 

There will be now from sixteen to twenty cards remaining 
in the deck, which is in the right hand at the conclusion of the 
movements just described. Do not pause, but place deck in left 
hand, really placing only five or six cards in the left hand, the 
remainder being palmed in the right. The left arm makes several 
vigorous up and down movements, the fingers riffling the cards. 
''Pass!*' exclaims the performer. The right hand reproduces the 
palmed cards in a fan from beneath the vest and throws them on 
a table, remarking, ''Quite a bunch went that time. Let us see 
how many we have left," counting, "One-two-three-four-five-six. 
Please note what they are. The king, jack, tray, ten, seven and 
ace (or whatever they happen to be). Shall I pass them all at 
once ? Very well. Go ! " Bring the left hand, which holds the 
cards, face upwards, between the thumb at the inner edge and 
the tips of the second and third fingers at the outer edge, the 
first and little finger tips below the cards. Lower the left hand 
below right, then, in repassing right with a quick upward and 
outward movement, propel cards into right palm with left first 
finger, making a snapping noise. Point right index finger at 
empty left hand for an instant, then thrust the right hand into 
either the left shoulder or under the waistcftat and slowly repro- 
duce the cards. 

THE DISSOLVED CARD. 

Tricks in which articles dissolve in water have always been 
favorites with magicians. One of the earliest experiments of 
this kind was the dissolving coin, which is even now a popular 
parlor trick, in spite of the fact that it has been explained in a 
thousand and one treatises on conjuring and in every juvenile 
paper or magazine. Time was when the amateur or professional 
magician never thought of going abroad without his glass disc, 
in order that he might be prepared to perform this trick at a 
moment 's notice. When billiard ball tricks rolled into favor a few 
years ago, an enterprising manufacturer of magical apparatus 

109 



The Art of Magic 

devised the dissolving ball, the apparatus consistiug of a half 
shell of glass, which was exchanged for the solid ball and dropped 
into a tumbler of water. The idea was eventually extended to 
eggs, and now an ingenious magician has applied the principle to 
cards. 

Effect — A card is drawn from a shuffled pack, covered 
with a handkerchief, and held by a spectator over a glass of 
water. At the performer's command the card is pushed into the 
water, after which handkerchief is removed. Lo! the card has 
vanished. 

Time Occupied — Three minutes. 

Requisites and Preparation — An ordinary pack of cards ; a 
handkerchief; and a piece of transparent celluloid cut to the 
shape and size of a playing card. The celluloid should approxi- 
mate the thickness of a playing card, so that it will neither curl 
nor wrinkle. The celluloid can be bought at any dealer in art 
materials. 

Presentation of Trick — In the right coat pocket are 
planted a fairly large cotton handkerchief and the celluloid feke. 
The feke is in such a position that it can be readily palmed in 
the act of removing the handkerchief. Offer the pack for shuf- 
fling ; request a spectator to select a card ; and while he is mark- 
ing the card, remove the handkerchief from the pocket, palming 
the celluloid feke. Hand the handkerchief to a spectator for 
examination. Take the chosen card in the left hand, immediately 
transferring it to the right, which movement covers the card 
with the feke. The card may safely be held in view of the 
audience; for the celluloid being transparent the sharpest eye 
cannot detect the presence of the feke. When the handkerchief 
is returned the performer throws it over the card and hands both 
to a spectator to hold. At least this is what he apparently does. 
In reality he palms the card, and it is the celluloid feke that the 
spectator holds beneath the handkerchief. This substitution and 
palm are easily made while the performer's hand is under the 
handkerchief. Take up the pack, adding palmed card to it; 
shuffle, and hand the cards to another spectator for safekeeping. 
Now fill a small tumbler with water, nearly to the brim, and hand 
it to the spectator who is holding the covered card, the performer 
110 



The Art of Magic 

relieving him of the latter burden. Throwing the handkerchief 
over the glass so that the lower edge of the supposed card is 
directly above the mouth of the glass the conjurer requests the 
spectator to hold it in that position in his disengaged hand. 
Remarking that at the word ^' three'' the spectator is to thrust 
the card into the water, the performer counts, ''One, two, three !" 
The spectator does as requested, and the performer whips off the 
handkerchief, at the same time taking the glass in his right hand 
and holding it aloft so that all may be convinced that the card 
has disappeared. The celluloid feke is absolutely invisible even 
at a distance of three or four feet. The card is then discovered 
in the pack, or in any manner that the magician may elect. 

Caution — If possible the performer should use a glass at 
least an inch taller than a playing card, and if filled only within 
a half inch of the brim the glass may be left in the spectator's 
hand without any danger of the feke being detected. If the 
glass is so small, however, that the feke extends above the level 
of the water, the glass must be held higher than the plane of 
vision, or placed on a table a tolerable distance from the specta- 
tors. A cotton handkerchief is used in preference to silk, as the 
extra thickness precludes the possibility of the spectator discov- 
ering the substitution of the celluloid for the card. 

THE MYSTERIOUS CARD. 

A new and mysteri^^us experiment with cards, and which 
requires skill and mental adroitness to perform with success It 
is one of Mr. Downs 's specialties. 

Effect — A pack of cards is shuffled and cut into live pack- 
ets. One packet is chosen (not forced). The performer spreads 
this packet face up on the table and a spectator is requested to 
think of one of the cards. The performer then produces the card. 

Time — Three minutes. 

Requisites and Preparation — An ordinary pack of cards; 
110 preparation. 

Presentation of the Trick— The performer watches the 
direction of the spectator's eyes as he mentally chooses a card. 
The wider the spread the easier it is to determine which group of 
cards the chosen card is among: that is to say, the right, the 
center, or the left. As a rule the most prominent card of the 

111 



The Art of Magic 

group will be selected. In picking up the cards palm this promi- 
nent card, after placing the other two likely cards of the group 
at the top and the bottom of the pack. A little practice will 
enable you to get the chosen card every time, as there are three 
chances in your favor. Ask the spectator to name his card. If 
he names the palmed card, pick up pack in left hand, riffle the 
cards, as in the cards up the sleeve, and produce the chosen card 
from under the coat at the left shoulder. If he mentions the 
card at the bottom of the pack, simply strike the pack a blow 
with the fist, turn the pack over and reveal the card. If the 
top card is named, command the chosen card to appear at that 
position, allowing the spectator to turn it over himself. 

THE CARD AND HAT. 

An excellent impromptu trick for the office, the club, or 
restaurant. Neatly performed it will prove very mysterious. 
The invention is claimed by Mr. Henry Hardin, the originator 
of the "Princess Card" trick. 

Effect — A pack of cards is handed to a spectator with the 
request that he shuffle it, place it on the table face downward, 
and* then to peep at the top card, leaving it on the deck. Cover 
the pack with a soft felt hat (which must be worn for this par- 
ticular trick), and command the top card to change. Upon 
removing the hat, the spectator discovers that the performer's 
command has been obeyed. 

Time — Two minutes. 

.Requisites and Preparation — An unprepared pack of 
■cards ; a soft felt hat, preferably of the Fedora style ; and in the 
left sleeve a stick shaped like a lead pencil and about four inches 
long — although the exact length will vary with the size of the 
hat. On one end of the stick is a pellet of conjurer's wax. 

Presentation of the Trick — While the spectator is looking 
at the top card the performer casually removes his hat and intro- 
duces the stick into it. Cover the pack with the hat, the waxed 
end of stick hanging down, the other end being held by the 
pressure of the fingers on the crown of the hat. The stick is 
pressed onto the top card, and, after muttering some mystic gib- 
berish, the hat is removed and replaced on the head. The card 
and stick of course, are concealed inside the hat. 
112 



The Art of Magic 
THE STABBED CARD. 

A new method of performing an old and well-known trick. 
A card is drawn from the pack, replaced, and the pack is shuf- 
fled by a volunteer assistant. The beauty of this method is that 
the performer does not need to keep track of the chosen card, as 
it is really shuffled into the deck. Nevertheless, when the cards 
are spread on the table, the performer experiences no difficulty 
in stabbing the selected card with a borrowed penknife. As the 
old methods of working of the trick are so widely known we shall 
confine our description to the bare details of the new method of 
locating the chosen card. 

The only preparation necessary is a minute pellet of con- 
jurer's wax affixed to the top card of the deck. After a spectator 
has selected a card, and while he is holding it up for the benefit 
of the spectators, the performer makes the pass, bringing the 
waxed card to the center. The selected card is replaced on this 
card, and the pack squared up. A little pressure of the fingers 
and the selected card will adhere to the waxed card, so that the 
pack may be shuffled for twenty-four hours without the two 
cards being separated. The method of bringing the trick to a 
conclusion should now be clear. In spreading the cards on the 
table, the double card is instantly distinguished by the sense of 
touch. A slight pressure of the fingers will instantly separate 
the cards, during wbich operation, of course, the hands never 
cease the mixing operation. The chosen card is kept in sight, 
and the trick brought to the usual conclusion. In another chap- 
ter we shall give a new, original and absolutely undetectable 
method of performing this interesting and always effective trick. 

THE GREAT POKER TRICK. 
This is a startling trick for the club or drawing-room and 
will enhance the performer's reputation as a skillful manipula- 
tor of cards. Incidentally, it will wean any person from the 
ambition to play poker with a magician or card expert. It is a 
particular favorite of Mr. Adrian Plate, a very skillful and 
ingenious conjurer, by whose permission it is included in this 
volume. 

113 



The Art of Magic 

Effect— A new pack of cards is taken out of the wrappers. 
The performer riffles the cards and the pack is cut by the spec- 
tators as many times as they desire. Seven poker hands are then 
dealt, and the six players each have a full house, while the per- 
former throws down a straight flush. 

Time Occupied— Three to five minutes, according to the 
amount of fancy shuffling and false cuts indulged in by the per- 
former. 

Requisites and Preparation— A pack of cards direct from 
the manufacturer. A pack that has not been tampered with will 
run as follows, from the bottom upwards : Ace, king, queen, jack, 
ten, nine, eight, seven, six, five, four, three, two, for each suit ; 
or Ace, two, three, four, five, six, seven, eight, nine, ten, jack, 
queen, king for each suit. For the purpose of this trick it makes 
no difference which order is used. There are a few brands of 
playing cards, however, among them the Steamboats, " which 
are not packed according to either of the above arrangements. 

Presentation of the Trick — The performer removes the 
pack from the wrapper, calling attention to the fact that the 
cards are fresh from the manufacturer. He throws away the 
joker and gives the pack a false shuffle, using whatever method 
he is most adept at. If versed in fancy blind cuts he may indulge 
in a series of manipulations of this kind ; but for the purpose of 
the trick it is sufficient to give the cards a false shuffle. Then 
allow the spectators to cut the cards. They may cut as many 
times as they wish without destroying the order of the cards, as 
the halves simply revolve around each other. This is, in fact, the 
strongest feature of the trick; for most persons believe that the 
conventional cut completely disarranges any prearranged order 
of the pack. 

Now deal the cards out to six persons, giving the top card 
to No. 1 ; the second card to No. 2 ; the third card to No. 3 ; the 
fourth card to No. 4 ; the fifth card to No. 5 ; and the sixth card 
to No. 6. Begin the round again, dealing the seventh card to No. 
1, and so on to No. 6. As soon as the twelfth card is dealt, shift 
the next card (the thirteenth) to the bottom of the deck, and 
continue dealing two more rounds. As soon as the twenty-fourth 
114 



The Art of Magic 

card is dealt, shift the twenty-fifth card to the bottom of the pack, 
and then deal around once more, handing one card to each player. 
Now deal five cards from the top of the pack for your own hand. 
Ask the spectators to turn over their hands, and each one will be 
astonished to find that he holds a full house. The performer then 
turns OA^er his own hand, exhibiting a straight flush. 

Caution — If the order of the pack is Ace, two, three, four, 
etc., up to the king, the performer must take note of the bottom 
card of the deck after the cut ; for should the bottom card be a 
jack, the trick will not come out as described. Another cut will 
obviate this difficulty. 

Concluding Observations and Suggestions — The weakest 
point in this trick is the necessity of shifting the thirteenth and 
twenty-fifth cards to the bottom of the pack; for the conven- 
tional two-hand pass is rather awkward to make while dealing, 
especially if the performer is seated at a table with six specta- 
tors around him. For this reason we advise the performer to 
stand up and not use a table ; but to deal the cards on the spec- 
tator 's hands. In moving from one person to another the per- 
former will have an excellent opportunity to shift or slip the two 
cards from the top to the bottom. 

ANOTHER POKER TRICK. 

Properly speaking, this is not a conjuring trick, but a 
gambler's artifice ; for a certain number of cards are stocked, and, 
in dealing four hands at poker, the desired cards fall to the 
dealer. The conventional riMe shuffle is used, supplemented 
with fancy cuts and a peculiar and rather effective movement 
known as the haymow" shuffle, which used to be employed in 
rural districts before the riffle shuffle was generally known. 
This method of ''putting up" cards is the simplest and most 
effective known; and the conjurer can use it to good effect in 
explaining why he does not play cards. 

We shall assume that three cards are to be stocked or ''put 
up," so that in dealing four hands at poker these three cards 
shall fall to the dealer, although four or five cards may be stocked 
as easily as three. For the purpose of explanation let us see 

115 



The Art of Magic 

three aces. Place the three aces in center of pack, keeping the 
little finger above them. Now make the ''haymow" shuffle. This 
is accomplished by drawing out the under half of the pack, that 
is to say, the packet helow the little finger, and slapping it rather 
forcibly on the top packet. Now undercut' about three-quarters 
of the pack, and allow the cards to drop in small packets on the 
packet remaining in the left hand. As the three top cards of 
this packet are the aces, the little finger must be kept on top of 
the packet. The final movement is to draw out this undermost 
packet and drop it on top. If the movements are performed 
slowly and naturally the effect is exactly as if the cards were 
thoroughly mixed and the three aces hopelessly lost. 

The three aces, however, are on top of the pack. Riffle the 
cards in the ordinary manner, taking care not to disturb the 
three aces, but allowing one card to fall on the top ace. Repeat 
this shuffle three times, allowing one card to fall on top of the 
pack after each riffle. When the four shuffles are concluded 
there vnll be four indifferent cards above the three aces. '*It 
must be apparent," you explain to the spectators, ''that the 
cards are thoroughly shuffled, and that the three aces are mixed 
in the pack. They are not on the bottom (here you turn over the 
cards and show three or four of the bottom cards) ; nor on the 
top (you turn up the three top cards, and if the spectators desire 
to see the next card, you can turn that up also, as it is an indif- 
ferent card). You see. I do not know where the aces are. To 
convince you that there is no deception about this experiment I 
will even give the pack another thorough shuffle." 

Riffle the cards as before, keeping the top stock of seven 
cards intact. After the shuffle make the following cut: Seize 
the deck with left hand at side, near end, between the second 
finger and thumb, the first finger tip resting on top. Seize the 
upper portion of deck with the risrht hand, at sides, near end. 
between the second fingrer and thumb. Raise the deck slightly 
from the table with both hands and pull out the upper portion 
with the right hand, but retain the top card in the left hand bv 
pressinsr on it with the left first finger tip. Immediately drop the 
left-hand packet on table and bring the right hand packet down 
136 



The Art of Magic 

on top with a slight swing, and square up. This cut displaces the 
top card, sending it to the middle. Therefore, if you riffle the 
cards four times, making this cut after each riffle, the four top 
cards will be transferred to the center of the pack, and at the 
conclusion of the shuffles the three aces will be on top, although 
the spectators would be willing to wager that these particular 
cards were hopelessly mixed in the pack. The trick proper now 
begins. All the movements and manipulations just described are 
mere flourishes, introduced for the purpose of convincing the 
spectators that the aces are hopelessly lost in the pack. Address 
the audience substantially as follows ; ' ' Perhaps you think I do 
not really shuffle the cards; but I assure you that the shuffle is 
neither an opitcal illusion nor any sort of hocus-pocus. To con- 
vince you that the cards are really shuffled I shall repeat the 
operation, only this time I shall riffle the cards so slowly that 
there can not be even the suggestion of trickery. (Cut the cards 
and place the two packets in position for the riffler shuffle). 
Now, watch my hands very closely. See; every card is riffled 
into the pack. No deception of any kind. ' ' The action is suited 
to the words. The packets are slowly riffled into each other. 
The first part of the shuffle is performed rather carelessly, but 
when you come to the last four or five cards, you must slow up 
and see to it that an indifferent card is riffled between each ace. 
The second shuffle completes the stocking of the aces. It is per- 
formed exactly as the first riffle, only in this instance the last 
six cards of each packet are alternately riffled into each other. 
If this manipulation has been correctly performed the twelve 
top cards will be arranged in the following order, counting from 
the top of the pack : Three indifferent cards — ace — three indif- 
ferent cards — ace — three indifferent cards — ace. It will be 
readily seen, from this order, that if the cards are dealt out in 
four hands, as at poker, the three aces will fall to the dealer. 
In case you should not calculate correctly, and one of the riffles 
should leave two or three extra cards over the top ace, the con- 
tremps need not disturb your mind. All you have to do is to cut 
as many times as you have superfluous cards, as described in the 
first part of the trick. This extremely useful sleight will shift 

117 



The Art of Magic 

the useless cards to the center of the pack. On the other hand, 
should the cards in the right hand run out first, and there is no 
indiiferent card to place on top, all that is necessary is to give 
the pack an extra riffle, leaving the top stack undisturbed, and 
conclude by dropping an indifferent card on top of the pack. 

By using five cards this system of stocking may be em- 
ployed in a very effective card trick. Allow five cards to be 
selected, marked, and returned to pack, which is now shuffled by 
the performer, who, sitting at the table, invites four spectators to 
surround him. After the series of shuffles described, supple- 
mented by some fancy cuts, four poker hands are dealt, and the 
five selected cards will fall in the performer's hand. The effect of 
this trick will be enhanced if, after shuffling, the performer 
bridges'' the cards and allows a spectator to cut the cards. 
The ''bridging" should be done at the end instead of the side, 
and is performed in the act of cutting. For complete instruction 
in fancy cuts and shuffles, as well as in other artifices employed 
by those who woo the goddess of fortune at the gaming table, the 
reader may be referred to S. W. Erdnase's excellent treatise, 
''The Expert at the Card Table." 

THE DISAPPEARING QUEEN. 

A remarkably fine card experiment, brilliant and bewilder- 
ing, the invention of that exceedingly ingenious conjurer Mr. 
Adrian Plate, and now explained for the first time. 

Effect — A pack of cards is shuffled, and, when returned, 
the performer removes all the picture cards. These face cards 
are exhibited to a spectator, who is requested to remember the 
bottom card, to remove it from the packet and place it on his left 
hand, covering it with the right. This is repeated until all the 
picture cards have been similarly disposed of. The performer 
draws attention to the remainder of the pack, showing that it is 
composed wholly of spot cards, and places this packet on an 
inverted tumbler, covering all with a handkerchief. "Ladies 
anr' gentlemen," says the performer, "be so kind as to name 
tlie cards that you have in your hands, the cards that you 
selected. Name them at the same time, when I count three. 
Now, then. One ! two ! three ! " " Queen of hearts ! ' ' respond the 
spectators in chorus. "What!" exclaims the performer. "The 
118 



The Art of Magic 

Queen of hearts? Everybody? That is impossible, for there is 
only one queen of hearts in every honest pack, and at this 
moment her majesty is reclining at ease underneath the handker- 
chief." Tilt! performer removes the handkerchief, and turning 
up the top card of the packet shows that it is the queen of hearts. 
The spectators are now requested to look at their cards, and 
much to their surprise they will find a different picture card in 
their hands. 

Time Occupied — Five to eight minutes. 

Requisites and Preparation — A pack of cards ; no prepara- 
tion ; a tumbler and a handkerchief. A half card (the queen of 
hearts) is also used. Take a duplicate queen of hearts and cut it 
in half. Use only one of these halves, and conceal it under the 
vest, or in any convenient pocket, so that it will be instantly 
accessible. 

Presentation op Trick — Give a complete pack of cards to 
be shuffled, and upon its being returned remove all the face 
cards except the queen of hearts, which you leave on top of tb*» 
packet of spot cards. Run the spot cards before the eyes of the 
spectators, exercising care to draw the queen of hearts behind the 
pack. Place this packet on an inverted tumbler and cover with 
a handkerchief. The queen of hearts, unknown to the audience, 
is the top card of this packet. 




Fig 14. ^{^ 
The performer now takes up the packet of picture cards and, 
getting possession of the half card, places it at the bottom. Hold 
the pack in the left hand in such a way that the fingers cover the 
lower half of the pack, the first finger concealing the half queen 
of hearts, as shown in Fig. 14. Advance to a spectator and show 
him the bottom card. AH he sees is the queen of hearts. Request 
him to take away this card, place it in his left hand, and cover 
it with his right. 

119 



The Art of Magic 

At this juncture the performer lowers the pack face down- 
wards and the right hand grasps the pack, the thumb at the end 
towards the body and the middle finger at the front. While 
keeping the left hand in its place and retaining the half card, 
the right hand shoves the pack a little forward. The result of 
this manouver will be that the half card will be at the place 
where the right thumb is, instead of near the tips of the fingers 
of the same hand. The right hand is now removed and the 
spectator takes the bottom card. He thinks, of course, that he is 
taking the queen of hearts, whereas he is really taking the bottom 
card of the packet. 

Now place the right hand again on the pack and shove the 
half card to the front. Advance to another spectator and exhibit 
the bottom card (the half queen of hearts), requesting him to 
remove it. Go through the same manouver as with the first spec 
tator, and repeat until all the cards are taken. When only one 
card remains in the hand press the half card well against it, 
palming the half card neatly when the last card is given to a 
spectator to hold. Every one imagines that he or she holds the 
queen of hearts ; and when the performer requests the spectators 
to name their cards at the word "three," the chorus will be 
''Queen of hearts." They will be very much surprised to dis- 
cover they are holding entirely different cards. 

All that remains is to show that the queen of hearts is really 
on top of the packet on the inverted tumbler. 

Caution — The trick as described can only be worked among 
a tolerably large audience; for the spectators who draw cards 
should be separated from each other, so that they cannot compare 
notes. In a small audience the performer can work the trick 
with, say four or five picture cards ; but, of course, in this event, 
much of the dramatic effect is lost. 

THE CARD THROUGH THE HANDKERCHIEF 

The trick of shaking a card through a handkerchief is one 
of the most popular of latter-day card effects, and is no doubt 
included in the repertory of the majority of amateur magicians. 
So far as we have been able to trace its history, it was the inven- 
tion of a well-known German conjurer, St. Roman, although it 
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The Art of Magic 

is claimed by at least a half hundred modern wizards. Although 
one of the best card tricks ever invented, it has been ''done to 
death." It is so widely known, in fact, that there is more or 
less danger in presenting it before a clever, up-to-date audience ; 
for it invariably happens that there is some one among the spec- 
tators that is acquainted with the secret. The following trick 
may be described as a variation of the card through the hand- 
kerchief, although the effect is quite different. It is equally 
mysterious, however ; and in the hands of a clever performer may 
be made a very fine card experiment. It is a splendid impromptu 
trick, and as this is the first time its secret has been explained, 
we advise the reader to add it to his programme. It is one of 
the specialties of the ingenious Mr. Leipsig. 

Effect — A card is chosen from a shuffled pack, returned, 
and the pack shuffled by a spectator. Performer calls attention 
to the fact that the drawn card is neither on the top nor the 
bottom of the pack. The deck is laid face down on the table and 
covered with a handkerchief, which is folded over the cards. The 
performer seizes two corners of the handkerchief and pulls them 
apart, when the card rises visibly through the handkerchief. 

Time Occupied — Three minutes. 

Requisites and Preparation — An ordinary pack of cards, 
no preparation; a fairly large cotton handkerchief, preferably 
of a dark color; a small pellet of adhesive wax. 

Presentation of Trick — A card is selected and returned 
to the pack. It is shifted to the top and palmed and the pack 
offered for shuffling. In taking back the pack the palmed card 
is returned to the top, and the pack placed on table. Exhibit a 
moderately large handkerchief of a dark color (cotton is prefer- 
able to silk as it is more opaque). Allow the spectators to exam- 
ine the handkerchief, and while they are thus engaged get pos- 
session of the minute pellet of adliesive wax (a good place to 
keep the wax until wanted is on one of the vest buttons). In 
taking up the cards press the wax on the center of the top (the 
selected) card. Call attention to the bottom card and ask if it 
is the selected card. The reply, of course, is in the negative. 
Remove the two top cards, holding them as one, and ask if it is 

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The Art of Magic 

the selected card. The reply is also a negative. Replace the 
pack on the table, face downward, and cover with the handker- 
chief, as in Fig. 15. In the drawing, A, B, C, D represent the 

A 




four corners of the handkerchief which is spread over the pack, 
E. The pack is drawn with dotted lines, so as to represent it 
as being under the handkerchief. In spreading the handkerchief 
over the pack the center is pressed on the top card, so that it 
will adhere to the pellet of wax. Now for the method of folding 
the handkerchief, upon which the success of the experiment de- 
pends. The reader will find it easier to follow the directions with 
the materials actually at hand. Fold C over towards A, until 
the point C is about two inches from the point A, see Fig. 16. 

A 




Fig. 16 

Now fold C about half way back, as in Fig. 17. When the fold is 
in the position of Fig. 17 the pack is under three thicknesses of 
the handkerchief. Now grasp the handkerchief on either side 
of the pack, at about the positions marked F and G in Figure 
17. The fingers should be underneath and the thumbs on top of 
the handkerchief. With both hands lift the handkerchief about 
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The Art of Magic 

ten inches above the pack. The top card, of course, adheres to 
the underside of the handkerchief. Lift handkerchief high 
enough so that the front half, the part marked A, is free from 
the table. Now swing A in towards the body (above the pack, of 
course), and let it fall over the cards and onto the table, only this 
time it Occupies the original position of C. The chosen card is 

A 




C 

Fig. 17 

now securely hidden between the folds. Grasp the corner C in 
the right hand and the corner A in the left hand. Pull C to the 
right and A to the left. By means of this manouver the hand- 
kerchief is opened and the chosen card is presented face upward 
on top of the handkerchief. The sudden appearance of the card 
is nothing short of startling, and the effect is precisely as if the 
card actually passed upward through the meshes of the hand- 
kerchief. The directions for folding the handkerchief may seem 
rather confusing at first. It is a very simple operation, however, 
and in actual practice consumes not more than two or three 
seconds. If the reader will follow each move with a handkerchief 
on the table he will experience no difficulty in ''catching the 
hang" of the operation, so to speak. 

The performer who does not mind going to a little extra 
trouble in order to increase the effect of his experiments can 
refine this trick by working it in connection with the ''kineto- 
scope" or ''Flying Card" trick, explained in Chaper III. In 
order to present the trick in this manner, arrange the pack, as 
described for that trick, so that in ruffling the cards a king of 
spades will appear as the king of clubs. The real king of clubs 
is on the top of the pack. It is forced on a spectator, due care 
being taken not to disarrange the order of cards. The king is 

123 



The Art of Magic 

replaced and brought to the top (still keeping care not to dis- 
arrange the order of the pack). The performer gives the pack 
a false shuffle, places it on the table and covers it with the hand- 
kerchief, which is folded in the manner already described. After 
the handkerchief is folded the performer remarks, rather apolo- 
getically, that he forgot the most important part of the trick. 
' ' I forgot to show you that your card was not at the bottom or at 
the top of the pack (removing the handkerchief and exhibiting 
the top and bottom cards). Oh, yes, sir, the card is in the pack. 
I have not juggled it away. Will you see if your card is still 
in the pack, sir?" This to the spectator who drew the card. 
Ruffle the pack before his eyes, and he sees what is apparently 
the king of clubs. It is really the king of spades, the card he 
drew being wrapped in the handkerchief. Request the specta- 
tor to shuffle the pack, and then lay it on the table and cover 
it with the folded handkerchief. Take hold of the ends A and C 
and pull them in opposite directions, when the king of clubs will 
apparently rise through the handkerchief. Permit the audience 
to examine the pack so as to convince themselves that a duplicate 
card was not employed. As the spectator shuffled the pack, the 
cards are so mixed that they afford no clue to the mystery. If 
the cards were left in their original order a keen-witted spectator 
might reason out the modus operandi. 

THE CARD IN THE WATCH (First Method). 

This mystifying trick used to be one of the specialties of 
the Italian conjurer Yank Hoe, who created something of a sen- 
sation among magicians in this country about fifteen years ago. 
It is not a trick that every conjurer will accomplish; but those 
who once acquire the knack of opening the case of a watch will 
make a decided hit with this mystifying feat. 

Effect — A watch is borrowed, wrapped in a handkerchief, 
and the bundle given to a spectator to hold. A card is drawn and 
returned to pack. The card disappears and a miniature of it is 
found inside the case of the borrowed watch. 

Time Occupied — From three to five minutes. 

Requisites and Preparation — An ordinary pack of cards; 
a miniature card, say the ace of clubs, the back of which is pre- 
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The Art of Magic 

pared with a sticky substance, like the dried glue on labels, so 
that it is necessary only to moisten with the tongue in order that 
the card will adhere inside the watch case. 

Presentation of Trick — Yank Hoe came forward with the 
miniature card palmed, the back moistened. He borrowod a 
watch, and on the way back to the stage deftly opened the case 
and inserted the miniature card. He was so expert that he could 
open the most stubborn case with one hand. Such facility, how- 
ever, is acquired only after a diligent practice, and only then 
when one possesses stout finger nails. The card once inserted 
and the watch wrapped in a handkerchief the trick, so far as the 
performer is concerned, is over. All that remains is to force an 
ace of clubs, and cause it to vanish according to the fancy of the 
magician. An excellent method is to perform the diminishing 
card trick with the ace of clubs, causing the smallest sized card 
to vanish, to be discovered eventually in the watch. 

THE CARD IN THE WATCH (Second Method). 

In this variation of the trick the performer has a miniature 
card pasted in the back of his own watch. Let us assume that 
this card is the ace of clubs. The performer forces an ace of 
clubs on a spectator. The card is returned to the pack and the 
deck shuffled. The performer asks the spectator to hold the 
deck to his own forehead, and to think intently of the selected 
card. He takes out his watch and opens the case and holds it so 
that the spectator cannot see the card in the cover. Now if the 
timepiece is held at the proper angle the card will be reflected in 
that part of the case that covers the works. In gold watches this 
surface is highly polished, and the card is reflected with startling 
distinctness. With the proper patter this trick can be made 
very effective. An excellent method of performing the trick is 
to have the person who drew the card hold to his forehead one 
end of a long piece of thin wire, or string. The performer holds 
the other end over the watch, and invites another spectator to 
see what he can see. He sees the reflection of the very card that 
the other spectator is thinking of. Produced with the proper 
dramatic effect this method is startling. 



125 



CHAPTER VI. 



CARD TRICKS BASED ON A NEW AND ORIGINAL SYS- 
TEM OF LOCATING A CHOSEN CARD. 

In this chapter we shall describe a series of sleights by which 
a chosen card may be located in the pack, without the use of the 
shift, or without resorting to any of the multifarious and conven- 
tional devices employed by magicians to obtain knowledge of a 
card that has been sighted or selected by a spectator. This new 
and original system of subterfuge is the invention of T. Nelson 
Downs, who has built upon the basic idea a superstructure of 
subtle and bewildering illusions with cards that will appeal par- 
ticularly to the devotee of sleight of hand. These tricks are sus- 
ceptible to development and variation, and in the hands of an 
adroit performer and clever talker will furnish adequate material 
for a thirty-minute act. The experiments form an ideal card 
combination for club work, or for an impromptu performance in 
the home, hotel or newspaper office, in that no preparation is 
required and any cards may be used. The performer, however, 
will soon discover that the best results are obtained by the use of 
a new, or comparatively new, pack of cards. Equipped with 
such a pack, and with a small table or stand of any kind, the 
student, assuming that he possesses the requisite skill, will be able 
not only to mystify the uninitiated, but also to baffle those who 
may have a knowledge of sleight of hand. So much for the 
intrinsic merits of this new system of deception. It is more to 
the purpose to present a brief description of the effects obtained 
by the various subterfuges. 

The performer removes a pack of new cards from its ease 
and wrapper, and offers the same to a spectator for shuffling. 
This preliminary duty performed, the conjurer, holding the pack 
downward in the left hand, requests some member of the audi- 

127 



1^ 



The Art of Magic 

ence to look at a card — not to draw a card, or in any way disturb 
its position in tlie pack; but simply to lift slightly the upper 
right-hand corner of the pack and sight a card. During this 
operation the performer partly turns his back to the spectator, 
extending the left arm backwards, in order that he may not 
catch a glimpse of the card. After the card has been sighted, and 
the pack restored to its normal condition, the performer draAvs 
attention to the fact that the cards are squared up, and even 
allows the spectator to take the pack in his own hand and examine 
it. Nevertheless, the performer can instantly produce the chosen 
card in any manner he may choose, or. as performed by Mr. 
Downs, can make the card anpear at any number from the top of 
the pack that may be desired by the audipucp. This is the sreneral 
effect of the experiment, the groundwork of the inisrenious system, 
so to speak; but in repetition — and this is one of the very few 
card tricks that can be safely performed more than once before 
the same audience — in repetition a number of different methods 
are employed to obtain secret knowledge of the card sighted, and 
the method of reproducing the card is varied. We shall describe 
each method in turn, but the reader must remember that the 
bewildering effect of the experiment consists in combining the 
different methods into one general trick. In other words, the 
effect is cumulative, developing to a climax. 

First Method — The pack is held face downward in the left 
hand, in the usual manner of holding the cards for dealing, 
except that the four fingers on the outside press the pack rather 
firmly into the crotch of the thumb. The first joint of the first, 
second, third and fourth fingers are pressed against the outer 
edge of the pack. The thumb extends slantingly across the top 
of the pack, pointing toward the first finger. In this manner the 
cards are presented to the spectator, who is requested to lift 
the upper right hand corner of the pack and remember one of 
the cards. The performer impresses rather strongly upon the 
spectator the importance of looking at one card only. While 
the spectator is engaged in this duty, the performer partially 
turns his body and head, so that he cannot possibly see the card 
sighted by the spectator, who, after making a mental note of the 
card, allows the upper portion of the pack to fall back into its 
128 



JOHN NORTHERN HILLIARD. 



I 



The Art of Magic 

original position. If, however, the pack is held as directed, and 
a rather firm pressure maintained by the first and second fingers 
against the outer edge of the deck, it will be found that a small 
part of the fieshy tip of the first finger will be wedged between 
the two portions of the pack, forming a break, the bottom card 
of the upper portion being the spectator's card. If, at the same 
time, the left thumb is pressed rather heavily on the top of the 
pack, this break will not be visible. As you turn around and 
bring the hands together, the tip of the left first finger is 
inserted further into the break and then pushed upward and out- 
ward, which movement forces the chosen card (that is, the card 
at the bottom of the lower packet) outward until it extends about 
half an inch from the right side of the pack. The right hand, 
which covers the pack during this operation, grips the extended 
card between the first joint of the thumb (at the lower corner) 
and the second joint of .the third finger (at the upper corner), 
see Fig. 18, and slips the cards to the top of the pack. Deftly 




Fig. 18 



performed, with the back of the right hand toward the audience, 
the movement cannot be detected by the sharpest eye. When the 
card is safely on top the performer impresses the audience with 
the idea that it is an utter impossibility for him to know what 
card w^as sighted, or to know the location of the card in the pack ; 
and he draws attention to the fact that the cards are squared up, 
even allowing spectator to take the pack in his own hands. In 
order to make the trick appear more difficult, however, he shuffles 
the pack, taking care, of course not to disturb the top card. He 
now requests a spectator to name a number. Let us suppose that 
the number ten is named. The performer stands apparently 
wrapped in deep thought, and pays no attention to what the 
spectator says. Then, suddenly he becomes all animation. 

129 



,1 



The Art of Magic 



''What number did you say, sir?^' he inquires politely. "Ten! 
An excellent number for the experiment. I really knew before- 
hand that you would select ten, and consequently have already 
commanded the chosen card to fly to that number. You look in- 
credulous, sir. Fortunately, however, I can prove my assertion. 
Will you, sir, oblige me by holding the pack in your own hands 
and counting off the desired number of cards. Pray observe 
that there can be no deception. One, two, three, four, five, six, 
seven, eight, nine — stop ! You have counted off nine cards ; and, 
therefore, if the experiment has been successful the next card 
should be the card selected by this gentleman. Will you kindly 
name the card before it is turned up ? The five of clubs ? Then 
the tenth card should be the five of clubs. Turn it up yourself, 
sir. Thank you. The experiment has been a complete success. ' ' 
The method by which the desired card is brought to the 
required number from the top of the pack is at once simple and 
ingenious. The pack is held in the left hand, face downward. 
The lower portion of the pack is bent slightly upwards, and the 
bottom cards are released, one at a time, by the thumb of the 
right hand, see Fig. 19. The pressure of the thumb enables the 



performer to count exactly the number desired (in this case 
nine) ; the little finger is slipped between them and the rest of 
the pack and the pass made, which operation brings the chosen 
card to the desired number in the pack. 

At the outset the student may object that this method of 
counting is rather slow; but after a modicum of practice the 
thumb becomes accustomed to the work and the desired number 




Fig. 19 



130 



the Art of Magic 

of cards will be counted oif noiselessly, rapidly and without the 
slightest hesitation. Indeed, there is no limit to the skill that 
may be acquired in this really valuable sleight, and it will be 
found in time that the desired number of cards will be secured 
more by the intuitive sense of touch than by the conscious act of 
counting. In the actual performance of the trick it will expedite 
matters if the performer begins counting before asking a specta- 
tor to think of a number. Let him thumb off, say, ten cards, 
which he separates from the rest of the pack by inserting the 
little finger of the left hand. Now, if a greater or smaller 
number than ten is chosen, it will be a simple matter to add to, 
or take away from, the ten cards. Experience teaches that the 
number chosen, ninety-five times out of a hundred, will be be- 
tween seven and fifteen, and with ten cards already counted it 
will require only a second to shift the requisite number to the 
top of the pack. In case the performer is not certain that he has 
transferred the exact number of cards to the top of the pack, it 
will be wise to vary slightly the method of concluding the trick. 
Hand the pack to a spectator, as already described, but instead 
of allowing him to count down to the desired number, the per- 
former himself takes off the cards, one by one, from the top. 
counting audibly as each card is removed, and glancing swiftlf 
at each card as he places it in his left hand. Let us suppose that 
the card is to be found at number ten from the top, and that the 
performer, in taking off the cards, discovers that the chosen card 
is at number nine. He does not hesitate an instant but places 
this ninth card on top of the packet in his left hand, and then 
takes up the tenth card. He does not show the face of this card, 
however, but places it on top of the packet in the left hand, and 
addresses the audience somewhat as follows: ''The conditions 
of the trick require that the card chosen by the gentleman shall 
be found at the tenth number in the pack. I have already 
counted off ten cards from the pack, and if my trick has been a 
success this card (here the performer touches the top card with 
the right forefinger) should be the one selected. (This is a fabri- 
cation, of course, for the chosen card is second from the top ; but 
there would be no such thing as magic if mendacity were a 

131 



■if. 



The Art of Magic 

penal offense). Before turning over the card I shall prove that 
1 have known its identity all along. (The performer, of course, 
after shifting the card to the top of the pack, in the manner 
described, took occasion to sight it. Let us assume that it is the 
four of hearts). Will the gentleman kindly think of the card 
intently. Do not allow your thoughts to wander from the cards. 
Is your card a red one, sir? The gentleman says that his card is 
red. Strange, isn't it, how I can look in a person's eye and 
tell what— he has eaten for supper? Your card is a diamond, is 
it not ? The gentleman says that his card is a diamond. I could 
see in your left eye that it was a diamond. Strange, isn't it? 
Eeally, I do not see how I can do it for the money. But to pro- 
ceed. It is a spot card, is it not ? I wa^ sure of it. I am rarely 
mistaken on spot cards, and particularly when the card in ques- 
tion is the four of diamonds. Am I correct, sir ? The gentleman 
says that the four of diamonds is his card, which should be on the 
top of the packet in my hand, as it is the tenth card I took from 
the pack. ' ' During the latter part of this patter the performer 
has ruffled the ten cards in his left hand with the right thumb 
and has slipped he left little finger underneath the two top cards. 
By this manouver he is enabled to take off the two top cards and 
exhibit them as one. As the four of diamonds is the bottom card, 
the audience is satisfied that the experiment is a complete suc- 
cess. ''The chosen card," continues the performer, ''has 
appeared, as requested, at number ten in the pack. Of course, 
had any other number been chosen it would have made no dif- 
ference in the result. (Here the performer takes with his left 
hand the pack from spectator.) "Will any one else kindly 
name a number at which they would like this four of diamonds 
to appear, counting from the top of the pack. (At the words 
"top of the pack" the performer carelessly places the double 
card, which the spectators think is the four of diamonds only, 
on the top of the pack). But in order to make the experiment 
still more difficult I shall place the four of diamonds on the 
table. (Suiting the action to the word the conjurer deals the 
top card od the table. The spectators believe, of course, that the 
four of diamonds is on the table ; but in reality the four is on the 
top of the pack). Will some one mention a number. Fifteen? 
132 



The Art of Magic 

Very good, sir. I was certain that you would select fifteen, and 
I assure you that the card has already traveled to that position 
in the pack. Watch me carefully. (The performer counts the 
cards and turns up the four of diamonds at the fifteenth. This 
surprising result is accomplished by dealing seconds). I shall 
now place the four of diamonds in the center of the pack (suit- 
ing the action to the word) and it immediately flies to the bot- 
tom of the pack. (This is accomplished either by the shift, or by 
the ' ' Voisin twist, " or " dovetail pass, ' ' described on Page 16 of 
''More Magic," by Prof. Hoffmann. Had you commanded the 
four of diamonds to appear on the top of the pack, it would 
immediately have obeyed. (Shift again and show four of dia- 
monds at the top of pack). Will you, sir, kindly touch one of 
the cards in the pack. Turn it over, please, and name the card. 
The four of diamonds? Ah, ladies and gentlemen, you must 
admit by this time that the four of diamonds is really ubiquitous, 
and agree with me that no matter what number you may select 
the four of diamonds will instantly appear at that number." 

This last effect is accomplished by forcing. As the per- 
former says, ''Will you, sir, kindly touch one of the cards," he 
advances toward one of the spectators, at the same time making 
the shift, which brings the four of diamonds to the center. It is 
now a comparatively easy matter to force a spectator to touch 
this card. If, inadventantly, or with malice prepense, he touches 
some other card, you need not be disconcerted. Take out the 
card designated, and, without showing it, place it on the table. 
Request another person to touch a card, and force the four on 
this spectator. If he touches the right card, place it face down- 
ward on the table. Request another spectator to touch a card (it 
does not matter which card is touched) and also place this one 
on the table. These three cards should be arranged so that the 
four of diamonds is in the middle. Request a spectator to select 
one of the three cards, and the chances are ninety-nine to one 
that the center card, the four of diamonds, will be chosen. If 
the middle card is not selected, the performer may stiU force the 
four of diamonds by taking up the card designated and then 
forcing the four by means of the familiar ''right or left" 

loo 



The Art of Magic 

equivoque. This metliod of terminating the trick allows the per- 
former three chances to force the four of diamonds, and if he 
fails in three trials there is very little hope of his ever being a 
magician. 

Having explained at length the modus operandi of termi- 
nating the trick when the performer does not shift enough cards 
from the bottom to the top of the pack, it will not be out of 
place to give a hint as to how to bring the trick to a successful 
conclusion in case the performer transposes more than the requi- 
site number. Let us assume that the conjurer has shifted ten 
cards from the bottom to the top, instead of nine. This would 
bring the .chosen card number eleven from the top, instead of 
number ten. As the performer takes the cards, one at a time, 
from the pack, held by the spectator, he glances at them quickly. 
When the tenth card has been removed he turns up the corners 
of the eleventh and twelfth cards and remembers what they are. 
Then he addresses the audience as follows: ''Ladies and gen- 
tlemen, I have removed ten cards, the number selected by your- 
selves, from the top of the pack. Therefore, the next card should 
be the selected one. Will you kindly name the card, sir. The 
four of diamonds ? Thank you,* sir. Will you kindly turn up 
the top card. It is the four of diamonds and my trick has been 
successful." This is the procedure in case the chosen card is 
number eleven. Should the four of diamonds be the twelfth 
card, the performer takes off ten cards, throws them on the table, 
and, taking the pack from the spectator turns up the two top 
cards, exhibiting them as one card, and concludes the trick in the 
manner described. It is seldom, however, that the conjurer will 
make a mistake of more than one card in his secret count ; but it 
is the part of wisdom to have a plan of campaign in case the 
unexpected happens. The magician cannot afford to burn all his 
bridges behind him. 

Second Method — A spectator sights a card as described in 
the first method, but the performer in this case does not insert the 
little finger, after the break is made, and slip the card to the top 
of the pack. Instead, he bends the right hand corner of the 
pack slightly upward, so as to form a permanent break, and lays 
the pack on the table, calling attention to the fact that it is 
impossible for him to know the location of the spectator's card. 
134 



The Art of Magic 

Of course, the pack must be laid down so that the break will not 
be visible to the audience. In picking up the pack, the performer 
can instantly bring the chosen card to the top by means of the 
slide or slip as described in the first method, or he can shift the 
card to the bottom by inserting little finger in the break and 
making the pass. This method is preferable, as it varies the 
method of operation. The card may then be found at any num- 
ber in the pack, as already described. 

Third Method — In this method the spectator holds the pack 
in his own hand while sighting a card, and he squares up the pack 
before handing it to the performer. Nevertheless, the conjurer 
causes the desired card to appear at the desired number in the 
pack, or, in order to vary the method of reproduction, may snap 
the card up the sleeve and produce it from the breast pocket or 
armpit. When the conjurer introduces this variation the effect 
will be rather electrical on those who know, or think they know, 
some of the good things of magic. As a matter of fact, or rather, 
as a matter of magic, what could be more bewildering than allow- 
ing a spectator to hold a pack of cards in his own hands and 
simply look at one of the cards, neither removing it nor handling 
it in any manner, after which the performer, who may turn his 
back to the spectator during the preliminary part of the trick, 
instantly reproduces the card ! This is real magic. In spite of 
the brilliancy of the effect, the method by which it is attained is 
simple. Before handing the pack to a spectator the performer 
should spring the cards from one hand to the other, a fancy 
sleight, or flourish, that is familiar to all conjurers. The student 
who is not familiar with this flourish will find it described in 
most of the older books on magic, and we give as the most con- 
venient reference, Page 37 of ''Modern Magic." The execution 
of this flourish will correct any bend that may be in the cards 
after performing the tric^ by the first two m.ethods. In order* 
to insure success the pack must, when squared up, be without a 
break. Hence the importance of using new cards. 

After performing the fancy flourish, square up the cards, 
and hand the pack to a spectator. The springing will leave the 
pack slightly rounded or convexed. This is absolutely essential 
to the success of the trick. Request the spectator to lift up the 

135 



The Art of Magic 

pack as before and to remember the card he sees. This bends a 
portion of the pack in the opposite direction and forms a break 
at the chosen card. By cutting, or making the shift at this 
break, the chosen card is brought to the bottom. Glance at the 
card and shuffle the card to the top. Palm it in the right hand 
and ask the spectator to name his card. If he names the right 
all you have to do is to snap the pack in the left hand and 
produce the palmed card from under the coat, either at the 
armpit or from the breast pocket, calling attention at the same 
time to the ease with which you can make a card leave the pack 
and travel up the sleeve. If, as it may occasionally happen, you 
have not secured the right card, you will have to vary the pro- 
cedure. Every conjurer worth his salt will have his own method 
of getting out of a difficulty ; for, as Robert-Houdin said, the true 
test of a magician is not how he does a trick, but how he can 
turn failure into success. In case of a contremps at this stage 
the performer need not be at all disconcerted. Hand the pack to 
the spectator and request him to note the number of his card in 
the pack counting from the top, when he has done so take back 
the pack and replace the palmed card on top (the one you had 
palmed in the expectation that it was the spectator's card). 
Now ask the person to name the number his card is in the pack. 
For the purpose of explanation we shall assume that it is number 
nineteen. That is to say, it ivas number 19 ; but since adding the 
palmed card to the deck the chosen card is now number 20. 
Deal nineteen cards on the table, and as you throw down the 
nineteenth card request the spectator to turn it over. This will 
draw all eyes to the table, affording the performer an oppor- 
tunity to palm the twentieth card (the spectator's card) and 
introduce it into the pocket. The spectator, of course, remarks 
that the nineteenth card is not the one he chose. The per- 
former appears embarrassed, and, after a little byplay, asks the 
spectator to name his card. The spectator complies. ' ' Ah ! you 
must have been mistaken, ' ' answers the conjurer, ' ' for the seven 
of diamonds (assuming that is the card) has been in my pocket 
all the evening." Suiting the action to the word he removes 
the chosen card. This method of getting out of a difficulty is not 
original, but is based upon the "Card in the Pocket" trick de- 
136 



The Art of Magic 

scribed in another chapter. This subterfuge will be found useful 
in many instances where the performer, through some error, 
loses sight of a chosen card. If the performer is not successful 
in finding the card sighted by this method — that is, if the spec- 
tator does not bridge the cards enough, he can remedy the 
difficulty by snapping a small rubber band across the middle of 
the pack. This method, while adding to the effect of the trick, 
makes it impossible for a person to lift up one end of the deck 
for the purpose of sighting a card without bridging the pack. 
A spectacular variation is to invite a spectator to insert a paper 
knife into the pack thus treated with a rubber band. The per- 
former slightly raises the handle of the knife, in order that the 
spectator may note the card ; and this movement bridges the pack 
so that the spectator's card may instantly be located. The per- 
former's ingenuity will suggest different methods of utilizing 
this slever ruse. 

Fourth Method — The spectator holds the pack in his own 
hand, as in the third method ; but in this case it is not necessary 
to bridge the cards. He may cut the pack, or lift the cards up, 
or note a card in any manner he desires. Nevertheless, the per- 
former instantly produces the card. Cleverly performed this 
has a stunning effect upon an audience, the more imaginative of 
whom will almost be persuaded that the performer has a 
Machiavellian mastery over the cards. 

The means by which this surprising result is brought about 
are in reality very simple, although the bungling and unobserv- 
ing performer will meet his Waterloo in this experiment. The 
keen-eyed, ready-tongued and adroit performer, however, will 
experience no difficulty whatever in this method, the secret of 
which lies in locating the selected card by observing where the 
spectator breaks the pack. For convenience arrange the pack 
as follows : First, seven or eight clubs ; then the same number of 
hearts, followed by about the same number of spades and diam- 
onds. These suits are not arranged in any order. With a little 
practice you will be able to locate within five cards where the 
pack is broken by the spectator in selecting a card. In rapidly 
running over the cards (which can be done as you return to 
the table) remove these five cards, placing one on top of the pack, 
another at the bottom (remembering, of course, which is which), 

137 



The Art of Magic 

and palm the remaining three cards, remembering their order. 
To facilitate the memorizing of five cards the pack is arranged 
in suits, as described; for it is easier to remember five cards of 
one suit than five of different suits. After a little practice, 
however, the performer should be able to perform the trick 
without any pre-arrangement of suits. When these preliminaries 
have been accomplished, request the spectator to name his card. 
You then know whether the card is on the top or at the bottom 
of the pack, or in your hand ; and you act accordingly, exhibiting 
either the bottom or the top card, or producing the selected card 
from the pocket, leaving the other two behind. With a little 
practice the performer will find that, nine times out of ten, he 
will be able to come within three of the chosen card, and seven 
times out of ten he should be able to locate the exact card. 
For the sake of safety, however, it is abvisable to palm three 
cards and place the other two as directed. In case the performer 
does not locate the card in his five chances, he can bring the 
trick to a successful conclusion in the manner described in the 
Third Method. At first blush the reader may think that this 
variation is not practical ; but we hasten to assure him that it is 
practical in every sense of the word, and that adroitly per- 
formed it has an astonishing effect. That it is one of Mr. Downs 's 
favorite tricks is an adequate recommendation of its value. 

Fifth Method — This is one of the most mystifying and 
artistic methods of the series. Count down from the bottom 
of the pack (in the manner described in the First Method), a 
dozen or fifteen cards — the exact number makes no material dif- 
ference. Insert the little finger between the cards and the pack 
and make the pass, bringing the packet to the top. Keep the 
packet separated from the pack by means of the little finger 
Now fan out the cards, at the same time requesting a spectator 
to draw one. As the cards are fanned the packet of fifteen is 
spread into the right hand, where they are held so that the 
spectator cannot select one from them. Count the cards as 
you fan them, sliding them one at a time with the left thumb 
upon the fifteen in the right hand, mentally counting sixteen, 
seventeen, eighteen, nineteen, twenty, twenty-one, twenty-two, 
etc., until the spectator selects a card. Let us assume that he 
138 



The Art of Magic 

draws the twenty-third card, in which case you will have twenty- 
two cards in the right hand. Keep on sliding the cards, one at 
a time, from left hand to the right, secretly counting as you do 
so, twenty-three, twenty-four, twenty-five, requesting the spec- 
tator to replace his card. Let us assume he replaces his card 
in the fan just as you have counted twenty-five. His card, 
therefore, will be the twenty-sixth, counting from the top. Im- 
mediately square up the deck and request the spectator to name 
the number at which he would like his card to appear. If he 
says sixteen, you simply count off ten cards from the top and 
shift them to the bottom. The counting is done in a manner 
similar to the bottom count already described. Lift up a 
bunch of cards from the top of the pack, inserting the little 
finger of left hand between them and the rest of the pack, 
and then count the cards in packet by allowing the ends to 
escape from the right thumb. When the right number is secured 
shift them to the bottom. With a little practice the right thumb 
should pick up the required number without hesitation. Some 
performers have brought this feat to such a degree of skill 
that they can cut any number called for, without missing once 
in a dozen times. By way of variation, the performer may 
cause the card to appear at any number from the bottom of the 
pack. If the performer is working with a full pack, and the 
chosen card is number twenty-six from the top it is number 
twenty-seven from the bottom. If the spectator names sixteen, 
the performer must shift eleven cards from the bottom to the 
top of the pack. 

Sixth Method — The manner in which the chosen card is 
located in this method is decidedly ingenious, and the resource- 
ful conjurer will find the little feke an invaluable assistant in 
a hundred and one ways in experiments with cards. The author 
complaisantly believes that if this book contained no other novelty 
than this its existence would be justified. And like all the 
good things in magic this feke is absurdly simple and may be 
prepared by anyone in five minutes. It is simply an improve- 
ment on the old and well-known long card; but the device is 
so clever that its employment will baffle the astutest eye and 
mystify even old hands at the business. The feked card is il- 

139 



The Art of Magic 

lustrated in Fig. 20. A glance at the illustration will convey 
the idea better than a page of description. To prepare the 
card, split it at one end and insert a small square piece cut 
from another card. Glue the card together and your f eke, 




Fig. 20 



when dry is ready for use. If you use a glazed card, the easiest 
way of splitting is to insert the end in warm water. The 
wetting will not injure the card, and as soon as it is dry the 
split portion may be glued together. For this purpose liquid 
glue is preferable to mucilage or paste. The feke should not 
be large. Its greatest width, at the point where it leaves the 
card proper, should be three-sixteenths of an inch, and it should 
not extend more than one-eighth of an inch. The projection 
should be slightly rounded, as shown in the illustration. In- 
stead of a duplicate piece of card the feke may be made of very 
thin metal, aluminum preferred. A card thus prepared will 
last indefinitely. 

The use of this prepared card will be apparent at once to 
the reader, and also, we believe, instantly appreciated. The 
simplest mode of using it is to offer the pack to some one to 
select a card. ''Replace it, please," says the performer, at the 
same time cutting at the prepared card so that the drawn card 
may be replaced beneath it. The performer may now shuffle 
the pack with a very small risk of the two cards being parted, 
and he has only to cut at the prepared card in order to bring 
the chosen card to the top. 
140 



The Art of Magic 

The following is the way the card is used in the series of 
tricks described in this chapter. Up to this time the prepared 
card has been in the pocket. The performer adds it to the top 
of the pack, and requests a spectator to select a card. "While 
the card is being noted the performer brings the prepared card 
to the center by means of the shift. Placing the pack on the 
flattened palm of the left hand the performer requests the 
spectator to replace his card, at the same time cutting at the 
prepared card. Replace packet on top of drawn card and square 
up the pack, holding it between the first and second fingers at 
the top end and the thumb at the lower end. As the thumb 
completely hides the small projection, the performer allows 
the spectator to scrutinize all sides of the pack, at the same time 
calling attention to the impossibility of his being able to locate 
the chosen card. The performer may now bring the chosen card 
to the top by the simple expedient of cutting at the prepared 
card, when the spectator's card may be found at any number in 
the pack that the audience may name. This is only one method 
of using this ingenious card ; but the reader will find it an 
invaluable adjunct to many card tricks. The card can be added 
to the pack at any moment, and, when it has served its purpose, 
can be instantly palmed and replaced in the pocket. 

THE UBIQUITOUS CARDS— (First Method.) 

This brilliant and effective trick is based upon the sleights 
and stratagems just described. It is one of the leading items 
in the repertory of Mr. Nate Leipzig. This is the first time that 
the trick has been made public, and we are satisfied that our 
readers, after they have mastered the manipulations, will never 
willingly relinquish it from their programme of card problems. 
As an experiment for the parlor, the club, or any impromptu 
occasion, this card feat, in the opinion of the author, eclipses 
the majority of card tricks. 

Effect — The pack is thoroughly shuffled by the audience, 
and three spectators sight a card each, after the manner already 
explained. The pack is again shuffled and laid face downward 
on the table. The performer removes several cards from the 
top of the pack, one at a time, and requests a spectator to tell 
him when to stop. At the word "Stop" the performer exhibits 



The Art of Magic 

the last card taken from the pack, and it proves to be one of the 
cards sighted by the audience. The second card is produced in 
the same manner. The performer then hands the pack to » 
spectator, who deals the cards, one at a time, into the conjurer's 
hand until the signal "Stop" is given. Turning up the last 
card dealt from the pack it also proves to be one of the sighted 
cards. 

Time Occupied — In order to get the maximum effect out of 
this experiment it should be performed deliberately; and in- 
vested with the proper amount of patter it should take up at 
least six minutes. 

Requisites and Preparation — An ordinary pack of cards, 
dexterity and audacity. 

Presentation of Trick — The pack is handed to a member 
of the audience with the request that it be thoroughly shuffled 
and cut, or, if he choose, the performer may do the shuffling 
himself. Holding the pack in the left hand he requests a 
spectator to lift up the end and peep at a card — ''just one card," 
the conjurer urges, ''for if more than one card is sighted I may 
be unable to perform the trick." This little explanation fore- 
stalls any desire on the part of the spectator to ruffle the pack 
in order to make a selection from several cards. When the 
spectator has sighted a card, the break is made with the first 
finger, as already described. The performer does not immediate- 
ly bring the card to the top, but holding the pack at his side in 
such a manner that the break is not visible, he says-: "I wish 
to impress upon your minds that a card has not been dra^vn from 
the pack, but merely sighted by this gentleman. Consequently 
it is impossible for me to know either the name of the card or 
its location in this pack of fifty-two cards. Will another gentle- 
man oblige me by looking at a card?" The conjurer makes a 
half turn toward some other member of the audience, and at 
the same time slips the first card sighted to the top of the pack, 
in the manner that is now familiar to the reader. The pack 
is immediately extended so as to enable the second spectator 
to sight a card. This manonver is repeated for the selection 
of the third card, after which the performer gives the deck a 
false shuffle. Laying the pack on the table the performer pro- 
ceeds to remove a few cards, one at a time, and requests th6 
142 



The Art of Magic 

spectator who selected the last card to tell him when to stop. 
He removes the cards with the right hand, immediately trans- 
fering them to the left, where the cards are held face down as 
in the ordinary position for dealing. The three selected cards, 
of course, are on the bottom of the packet in the left hand, the 
card last selected being the undermost. When the signal to 
stop is given, the right hand immediately grips the packet, the 
fingers at the top and the thumb at the bottom, as if squaring 
up the cards. During this manouver the third finger tip of the 
left hand pushes the bottom card out at the side of the packet, 
and it is grasped by the fingers and thumb of the right hand and 
slipped to the top, as explained in the First Method of this 
chapter. With a little practice this movement is undetectable, 
as it is performed with the back of the right hand toward the 
audience. The performer is furher protected by a clever and 
very natural stall." When the spectator says ''Stop," the 
performer asks in a peremptory tone: "Did I influence you in 
any waj^, sir, to stop at this particular card?" This brings all 
eyes away from the conjurer 's hands for an instant, and in that 
instant the movement is executed. At the words, ''this particu- 
lar card," the performer strikes the top of the packet rather 
smartlj'- with the tip of the first finger of the right hand, and 
at the same instant the left thumb pushes the top card of the 
packet slightly forward. The spectator, naturally enough, 
answers "no" to the performer's question. "Very well, sir," 
responds the conjurer. "If my trick has been successful, then 
this card (tapping the top card with right forefinger) should 
be yours. Will you be so kind as to name your card? The 
queen of diamonds 1 Thank you, sir. Then this top card should 
be the queen of diamonds." The performer turns over the top 
card, which proves to be the queen of diamonds, or whatever 
the card may be. 

The remaining two cards, it will be remembered, are on 
the bottom of the packet in the left hand; and in order to pro- 
ceed with the trick it is necessary to bring them to the top 
of the deck. This may be accomplished by means of the shift, 
but the easiest and most natural method is to give the packet 
an ordinarv overhead shuffle, throwing the last two, or bottom, 

143 



The Art of Magic 

cards on top of the packet. This packet is then placed on the 
pack, which is shuffled, the top cards being left undisturbed. 
Eeplacing the pack on the table, the same effect is repeated 
with the second card, but the production of the third card is 
varied by placing the pack in the hand of one of the spectators, 
preferably the one who sighted the last card. The working 
of the trick, however, is the same. 

This is the trick as performed by Mr. Leipzig, but it may 
not be out of order to describe, briefly, a method by which 
the repetition of the movement of slipping the card from the 
bottom to the top of the packet is obviated. Three cards are 
sighted as described, and after they are brought to the top and 
the pack subjected to a false shuffle, the performer thumbs six 
cards from the bottom, and this packet is divided from the 
pack by the little finger. The conjurer requests some one to 
think of a number between one and ten, throwing a slight 
emphasis on the word '*ten." Nine times out of ten the number 
seven will be chosen, in which case he has only to make the 
pass, bringing the six cards to the top, and hand the pack to 
the spectator who sighted the last card. This card will now 
be number seven from the top, and the performer requests the 
spectator to count off six cards from the top and look at the 
seventh. The spectator does so, and is astonished to discover ^ 
his card at the chosen number. Of course, it would make no 
difference what number was chosen, for it is a simple manner 
to thumb the required number of cards; but as it is almost 
certain that seven will be chosen, the performer can gain time 
by having the six cards already counted down and separated 
from the rest of the pack by the little finger. 

The card turned up, and also the six cards counted off, are 
now placed at the bottom of the pack, which leaves the other 
two chosen cards on top of the deck. The pack is now false- 
shuffled and laid on the table. The second chosen card is pro- 
duced in the manner explained, the performer taking the cards 
off the top of the pack, one at a time, and slipping the card from 
the bottom at the signal to stop. The packet in the left hand 
is now shuffled, so that the bottom card is brought to the top. 
The packet is then replaced on the pack, which is once more 
144 



The Art of Magic 

false-shuffled. Now the pack is handed to the spectator whose 
card is to be discovered. He is asked to think of any number 
between one and fifty-two, and not to tell the performer what 
the number is. He is requested, in order to provide against 
any mistake, to whisper the number to one of the audience. 
When this is done, the performer directs the spectator to deal 
the cards off the top of the pack until he arrives at the number 
chosen. The spectator does as requested, but the card at the 
chosen number does not prove to be the one he sighted. The 
cards are replaced on the deck, which is handed to the person 
to whom the spectator communicated the number, and he is 
requested to try his luck. He does so, and, much to the surprise 
of the audience, turns up the right card. This last effect is 
achieved by an absurdly simple ruse, but presented deliberately 
and with the proper patter has an astounding effect. The fact 
that the performer does not know the number selected by the 
spectator is what makes the trick so inexplicable to the audience. 
When the performer hands the pack to the spectator to count 
down to his number, the spectator's card is really on top of the 
pack. The cards are counted face downward on the table. Let 
us assume that the spectator chooses the number twenty. He 
deals off twenty cards. The twentieth card does not prove to 
be his card, and the performer pretends to be embarrassed. He 
cannot imagine how the trick has failed. It never failed before. 
During his talk he replaces the twenty cards on top of the pack, 
by which manouver the chosen card is now number twenty, for 
the spectator in counting the cards on the table naturally re- 
versed their order. The performer hands the pack to the person 
to whom the spectator confided the chosen number, and upon, 
his counting down to number twenty the right card is turned 
up. As a matter of fact, the failure of the first spectator to 
find his card at the chosen number adds to rather than sub- 
tracts from the effect of the experiment. The success of the 
second spectator is entirely unexpected, as the audience really 
believes that the performer has failed. 

145 



I 



The Art of Magic 

THE UBIQUITOUS CARD— (Second Method.) 

This is T. Nelson Downs 's method. Its general effect is 
the same as described in the preceding method, except that two 
cards are drawn instead of three. In describing this trick wfe 
take pleasure in acquainting the reader with a new and valuable 
artifice in card conjuring — a method of dealing seconds with one 
hand. This sleight is one of the numerous specialties of Mr. 
Downs. 

Two cards are sighted and shifted to the top in the manner 
that is now familiar to the reader. The performer false-shuffles 
the pack, and concludes by palming the top card in the right 
hand and laying the pack on the table. "Now, ladies and 
gentlemen," he saj^s, "I haven't the slightest idea as to the 
identity of the two cards noted, neither do I know their posi- 
tion in the pack. Even if I did possess this knowledge it would 
have nothing to do Avith the trick I am about to perform. 
However, I will attempt to read the mind of the gentleman who 
looked at the last card. Ah, by gazing into his left eye I get 
the mental impression that his card is red (or black as the case 
may be) while the right eye informs me that the card is a king 
(or whatever it is) — a king of hearts. Is that correct, sir? 
Thank you. However, this knowledge really has nothing to 
do with the experiment; for the reason that I propose to cause 
this gentleman's card, namely the king of hearts, to appear at 
any position in the pack the gentleman commands. I shall 
take off the cards one at a time. (He suits the action to the 
words, lifting off the cards one at a time with the left hand, 
the deck lying on the table). I shall stop at any card you desire. 
Whenever you say stop, sir." "When the command is given the 
performer picks up the packet of cards with the left hand and 
places the palmed card on top. Holding the packet in the left 
hand, the performer, pointing to the top card, says: "I would 
like to ask you, sir, did I influence you to stop at this particular 
card? No, sir, I did not? Very well." The card is now turned 
over and proves to be the spectator's card. 

The second sighted card is now at the bottom of the packet. 
Secretly count three cards from the bottom, insert little finger, 
and make shift, bringing the desired card the third from the 
146 



The Art of Magic 

top. At this point the performer pretends to overhear some 
comment on the part of the spectators. ''Ah, I heard a lady 
in the back part of the room remark that there is some trick 
about it," says the conjurer. "I assure you, ladies and gentle- 
men, that I would not resort to any chicanery or deception. To 
prove to you beyond the shadow of a doubt that no deception 
is practiced 1 shall deal the cards with one hand only, making 
it physcially impossible for me to indulge in any of the repre- 
hensible arts of hocus-pocus." Holding the pack in the left 
hand the performer deals the cards, one at a time, from the top 
of the pack, and at the word of command the other spectator's 
card is exhibited. The first two cards are actually thrown face 
upward on the table. The third card, which is the spectator's 
card, is retained on top until the signal to stop is given. 

This is accomplished by means of a one-hand second deal. 
Hold the pack firmly in the left hand in about the usual posi- 
tion for ordinary dealing, save that the pack is gripped between 
the tips of the four fingers and the crotch of the thumb. The 
fingers should be pressed firmly so as to arch, or ''bridge" 
the pack slightly, the convex shape of the pack being necessary 
to the proper execution of the sleight. The left thumb extends 
across the upper part of the pack so that it just touches the 
tip of the first finger, the convex shape of the pack making this 
long reach possible. To deal the second card proceed as fol- 
lows: Draw back slightly the left thumb, which movement 
arches the top card so that the tip of the thumb touches the out- 
side border of the second card. Push this second card outward 
with the thumb, at the same time turning the hand over with 
a sweeping movement of the arm. The instant the palm of the 
hand is toward the table the pressure of the thumb is relaxed, 
which allows the second card to fall face upward on the table. 
This is the mechanism of the sleight, so to speak, and at the 
outset the movement may be somewhat difficult to achieve. A 
little practice, however, will soon overcome all difficulties; 
and when the sleight is mastered the student will have at his 
command an indetectable method of dealing seconds. The 
sweeping motion of the arm and the turning of the hand com- 
pletely baffle the sharpest eye, so that it is impossible for even 



The Art of Magic 

those acquainted with second dealing to say whether the top 
or the second card is dealt. When the performer attains to a 
perfect mastery of the movement he will be able to deal the 
second card without turning the hand over. The method de- 
scribed, however, is more effective in the trick of the ' ' Ubiquitous 
Cards." 



148 



CHAPTER VII. 



CLAIRVOYANCE WITH CARDS. 

One of the oldest of card tricks, as well as the most gen- 
erally known, is that in which all the cards in a shuffled pack 
are named ''without seeing them,'* although the words in 
quotation marks must be taken in a Pickwickian sense. There 
are a hundred methods, more or less, of achieving this interest- 
ing effect, from the primitive pre-arranged deck and memoria 
technica to the small concave mirror held in the paLm of the 
artist, but most of them are either suggestive or uncertain. 
In this chapter we shall acquaint the reader with a number 
of new methods of reading cards, methods that have not been 
explained in treatises on the magic art. A knowledge of the 
ordinary methods of performing the trick — such as the glass 
mirror, the reflecting ring, etc. — is pre-supposed. We shall 
begin the series with a very simple method of naming a single 
card and conclude with what is really one of the finest effects 
and most perfect tricks in this particular department of card 
conjuring. 

First Method — The pack is spread fanwise, the face of 
the cards toward the audience. A spectator is invited to touch 
the top of one of the cards. The instant he does so the per- 
former names the card. The explanation is absurdly simple. 
As the spectator touches the top of a card the performer with 
the left thumb slightly raises the lower left hand comer of the 
same card ; and as the fanned pack is held quite away from the 
performer, and also rather high, a glimpse of the index is af- 
forded. Although this effect may be repeated, the wise con- 
jurer will be satisfied with the single exhibition of his clairvo- 
yant power. 

149 



The Art of Magic 

Second Method — In this form of the trick any number of 
cards are named in succession without the performer (appar- 
ently) seeing them. This is a new, original and very suitable 
method of reading cards, and undoubtedly will be appreciated 
by the reader who is attracted by artistic card work. The secret 
lies in the use of a little feke that reflects the index of the cards. 
This feke is nothing more or less than an ordinary German silver, 
or nickel-plated, thumb tack, such as artists and architects use 
to pin sheets of paper to a drawing-board. The kind with the 
slightly convexed head is the best for this purpose. With a 
pair of pliers, or other sharp instrument, cut oft the tack part 
close to the head. With a pellet of conjurer's wax attach the 
head to the back of the upper right hand corner of a playing 
card. Palm this prepared card and offer the pack to be shuf- 
fled, or the card may be in the pocket while the audience has 
possession of the pack. Whichever subterfuge may be adopted, 
the card is eventually placed on the bottom of the pack. Hold- 
ing the pack in the left hand, with the bottom card squarely 
facing the audience, the performer slides all the cards but the 
bottom one downward, so that the head of the drawing pin is 
visible. As the back of the left hand is toward the audience 
the palm masks the cards, so that there is no reason to suspect 
that the pack is not squared. With the thumb of the right hand 
slowly push up the card on the back of the pack. As it rises 
the index is reflected in the polished surface of the thumb tack, 
and the performer is thus enabled to announce its name. This 
may be repeated until nearly all the cards have been named, 
but the conjurer will find that reading ten or a dozen cards is 
just as effective as calling off the entire pack. If any one sus- 
pects a preparation of the pack, it is a simple matter to remove 
the feke, when the pack may be passed out for examination. 

Third Method — This, in the opinion of the author, is the 
most perfect method of reading cards ever invented. It is really 
a brilliant and bewildering trick. 

The effect is as follows: A pack of cards is offered to the 
audience for shuffling, and while in possession of the audience 
a number of cards are drawn — six, eight, ten — any number, in 
150 



The Art of Magic 

fact, although six will be found the most effective number for 
the trick. These cards are replaced and the pack is held to the 
performer's forehead, Avhereupon he divines the name of each 
selected card. The cards are not forced, nor does the performer 
employ the pass or palm or any other sleight. Furthermore, 
the method is absolutely undetectable. The trick, we believe, 
is the invention of Theodore L. DeLand, Jr. 

In order to accomplish this effect two packs of cards are 
necessary. One pack is quite unprepared, but the other is not 
so innocent as it appears. Two of the cards are unprepared, 
but each of the remaining fifty has one of its indexes cut out 
as in Fig. 21. Consequently, if an unprepared card is replaceu 
in a pack so prepared the index is plainly visible. The working 

* 

V y 

Fig. 21 

of the trick will now be clear to the reader. The six cards, of 
course, are selected from the unprepared pack. While 
the cards are being marked the performer changes 
the unprepared pack for the prepared one, which can 
be done on the table or in the pocket. The faked 
pack has an unprepared card on top and one on the bottom, so 
that it does not differ in appearance from the ordinary deck. 
Holding the pack with the prepared end in the crotch of the 
left thumb, the performer riffles the other end and invites the 
spectators to return their cards, calling attention to the fact 
that the cards are replaced in different parts of the pack, and 
that everything is square and above board. Now slip the un- 



The Art of Magic 

prepared card from the bottom to the top of the deck, and, 
if the pack is placed to the performer's forhead (the back of the 
cards, of course, toward the audience) it is a simple matter to 
read the index of the first card, or, more properly, the card 
nearest the front of the pack. The card should not be named 
immediately. The performer should press the pack to the fore- 
head and endeavor to create the impression that the result is 
achieved by clairvoyance. After naming the first card the per- 
former fans the pack, removes the card, and, handing it to 
spectator, requests him to identify the mark. The reader will 
understand that it is necessary to remove each card after it has 
been named, in order that the index of the card next nearest to 
the front may be seen. Whenever the face of the pack is ex- 
hibited cover the missing index with the flat of the thumb. 

We have explained merely the bare bones of this effective 
trick, leaving it to the individuality of the performer to present 
it in as dramatic a manner as possible, and with suitable patter. 
As the index of each card must be neatly cut out with mathe- 
matical precision, it is impossible to prepare a pack without 
machinery made especially for the purpose. The publishers of 
this book have had special machinery made for the manufacture 
of this pack and they feel assured that the conjuring fraternity 
will be glad to know that they can supply the prepared pack in 
any style of card at a reasonable cost. 



152 



CHAPTER VIII. 



A SERIES OF CARD TRICKS BASED ON A NEW AND 
ORIGINAL SYSTEM. 

In this chapter the author presents a series of absolutely 
new and original experiments with cards. The effects, which 
are unknown to the profession, are among the most mysterious 
and baffling in the whole category of card magic. The different 
tricks described are based on one principle, which is, of course, 
susceptible to an infinite variety of combinations and arrange- 
ments. With these effects at his command the performer will 
not have the slightest difficulty in deceiving even those who are 
thoroughly conversant with the mysteries of card magic. To 
the uninitiated the feats will savor of the preternatural, and 
there will be a disposition to regard the conjurer as in league 
with the evil one. There is absolutely no clue by which those 
unacquainted with the secret can offer even the shadow of a 
solution. For club, parlor or close work these experiments are 
perfect, inasmuch as the spectators may surround the operator 
in a circle and yet be no wiser for their proximity. Before de- 
scribing the different tricks in detail let us acquaint the reader 
with the principle on which the effects are based. 

In the first place, it must be explained that the tricks 
described in this chapter can be performed only with cards that 
have a scroll design back, and of the many varieties that come 
under this category the "Angel Backs" are to be preferred. 
The tricks are based on the fact that in all scroll designs there 
are more or less irregularities. These irregularities, of course, 
are imperceptible to the eye unacquainted with the secret; but 
when one knows where to look the slight differences in the design 
are as plain as a moon in a cloudless sky. A glance at Fig. 22 



The Art of Magic 

will make this matter plain. In the upper left hand corner 
of the figure one of the small leaves is marked with a circle, at 
A. The leaf marked B, in the lower right hand corner, diagonal- 
ly opposite, so to speak, is larger and of different shape. The 
difference in size and shape is very perceptible when attention 
is called to the irregularity; but a person might examine the 
card for months, if he did not knoAv where to look, without ob- 
serving the difference in design. On this slight irregularity de- 
pends all the tricks described in this chapter. 




Fig, 22 

The pack should be previously arranged so that all the cards 
are in the position shown in Fig. 22, that is, with the small 
leaf in the upper left hand corner. A little practice will enable 
the performer to keep the pack always arranged in this man- 
ner. It is obvious that if a card is drawn and replaced in a 
reversed position, the card can be instantly located, no matter 
how much the pack is shuffled. The card thus reversed has 
the large leaf, B, at the upper left hand corner, and is readily 
located by ruffling this corner with the left thumb. With a 
little practice the card can be located in the fraction of a second, 
when it is a simple matter to insert the little finger and bring the 
164 



The Art of Magic 

card to the top. When the card is drawn the performer must 
watch closely to see if the spectator reverses the card while it 
is in his hands. If the card is not reversed the performer must 
reverse the pack. It will be found, in actual practice, that not 
once in a hundred times will a spectator reverse a card in his 
hands. It is not advisable to reverse the pack openly, for this 
might lead to the suspicion that the performer is using strip- 
pers. Simply give the pack a shuffle while the spectator is not- 
ing his card, and during this operation the pack is reversed in 
the most natural manner. A very effective method is to hold 
the pack behind the back when the card is drawn. In wheeling 
around the pack will be in the proper position for the return of 
the card. The most effective method, however, is to spread the 
cards on the table. A card is selected, and if the spectator 
reverses it while in his hand request him to replace it; then 
gather up the cards and shuffle the pack. If he does not re- 
verse the card, gather up the cards yourself, shuffle and reverse 
the pack, request the spectator to replace his card, immediately 
offering the pack for shuffling. So much for the system itself. 
We shall now describe a series of incomprehensible effects based 
upon this method of detecting a card. The first we shall call 

MIND READING WITH CARDS. 

Effect — A small packet of cards is handed to one of the 
company with the request that he or she will think of a small 
number and then transfer that many cards from the top to the 
bottom of the packet. The performer turns his back during 
this operation so as not to see how many cards are transferred ; 
but when he receives the packet he spreads the cards on the 
table, and, taking the spectator 's hand, directs it to a card which, 
when turned over, has the same number of spots as there were 
cards transferred. Thus, if five cards were transferred, the 
performer turns up a five spot. 

Time Occupied — About two minutes. 

Requisites and Preparation — A packet of "Angel 
Backs" — ten cards, arranged in sequence from ace to ten spot, 
the top card being the ace. The cards should be of different 
suits. 

155 



The Art of Magic 

Presentation op Trick— Exhibit the ten cards fanwise in 
the right hand, and in closing up the fan insert the little finger 
between the eighth and ninth cards (counting from the top), 
and make the pass, thus bringing the last two cards, the nine 
and ten spots, to the top. 

Hand the packet to a spectator and request him to think 
of a number between one and ten, and to transfer that number 
of cards from the top to the bottom of the packet. The per- 
former turns his back while this is being done. Now take the 
packet and spread the cards on the table, remembering that the 
second card from the top will indicate the number of cards 
transferred. Take the hand of the person who made the 
transfer and pretend to read his or her mind. After much 
manouvering finally turn up the second card, which will reveal 
the number of cards transferred. 

This is the orthodox method of performing the trick, and 
is known to every conjurer. It does not require a very acute 
mind to figure out that the secret of the trick lies in the fact 
that the cards are arranged in a certain order, although this 
intelligence will not enable one to perform the trick. Having 
performed the trick in this manner some one in the audience 
may remark that the cards are arranged. At any rate, the per- 
former picks up the packet and remarks that the audience is 
skeptical as regards the experiment being based on mind read- 
ing. To convince the audience that such is the case the per- 
former allows a spectator to shuffle the ten cards. Taking back 
the packet the conjurer shows the bottom and top cards of the 
packet, and declares that he will not change the position of the 
cards in any way. He now requests some one to transfer a num- 
ber of cards from the top to the bottom, as before. The cards 
are thrown on the table, and the spectator is asked to think in- 
tently of the number of cards transferred; and placing the lat- 
ter 's hand to his forehead, the performer, simulating mind 
reading, reveals the number as dramatically as possible. 

This bewildering effect is achieved oy simple means. The 
ten cards are really shuffled. Taking back the packet the per- 
former directs attention to the bottom card, after which the 
top card is turned over and exhibited. In the act of turning the 
156 



The Art of Magic 

top card back to its original position it is reversed, so that nine 
cards are arranged as A in Fig. 22, while the top, or tenth card, 
is arranged as B in the same figure. One of the company now 
transfers any number of cards from the top to the bottom. Let 
us suppose that five cards are transferred. The performer 
spread the cards on the table and sights the reversed card. *In 
this case it will be the fifth card from the end, counting from 
the bottom. The performer holds the spectator's hand to his 
forehead, and, after the proper amount of hesitation, reveals the 
number of cards that were transferred. Worked in connection 
with the first method, this little trick will prove as effective 
and mysterious as the most fastidious performer could desire. 
The next experiment performed by means of this subtle system 
is entitled 

DIVINITTON EXTKAORDINARY. 

This is a mysterious card experiment and is particularly 
effective for close work. 

Effect — A pack is shuffled by the audience; the cards 
are spread on the table; a spectator is requested to take out a" 
card, write its name on a piece of paper, and to lay the card 
face downward to one side of the table. This is repeated until 
ten cards have been taken and their names written on the paper, 
which the assistant folds and places in his pocket, the performer 
standing away from the table during these operations. The 
ten cards are now replaced, one at a time, in different parts 
of the pack, which is shuffled by the audience. The performer 
deals the cards into four packets. One of these packets is select- 
ed and is found to consist of the ten chosen cards. 

Time Occupied — About three minutes. 

Requisites and Preparation — A pack of ''Angel Back" 
cards arranged according to the system; a pencil and a sheet 
of paper. 

Presentation of Trick — The working of the trick should 
be apparent to the reader who thoroughly understands the sys- 
tem. The ten drawn cards, of course, must be reversed when 
replaced in the pack. In distributing the cards into four pack- 
ets the reversed cards are dealt into one packet. A good plan is 

157 



The Art of Magic 

to use forty cards for this trick, so that each packet will con- 
sist of just ten cards. The packet containing the ten chosen 
cards is. of course, forced. The performer should stand near 
the table while the assistant is drawing cards and writing their 
names down, so as to see if any of the cards are reversed dur- 
ing this process. This is not likely to be the case, for the assist- 
ant is instructed to leave the chosen cards on the table. The per- 
former, in gathering them together, can discover at a glance if 
they are in the proper position. After the cards are selected 
and their names written down, the assistant folds the paper and 
puts it in his pocket, during which operation the performer 
reverses the pack so that the chosen cards may be returned, one 
by one, after which the pack is offered for shuffling. The per- 
former deals the cards into four packets, and the trick is brought 
to the conclusion described. 

THE TRANSFIXED CARD. 
In a previous chapter* two methods of performing this 
splendid trick were explained, but the method which follows is 
superior to any other known to magic. The performer who 
presents the trick according to the directions that follow will 
never need to use any other method, for the secret will never 
be discovered no matter how many times he repeats the trick 
before the same audience. Of how many other tricks can this 
be said? 

Effect — A card is drawn from the pack returned, the pack 
shuffled and the cards spread on the table. The performer — 
blindfolded if he prefers — now transfixes the chosen card on 
the point of a knife. 

Time Occupied — About five minutes. 

Requisites and Preparation — A pack of ''Angel Backs'^ 
arranged according to the system; a pen knife. 

Presentation of Trick — Allow the pack to be shuffled and 
then spread the cards in a row on the table. Request one of 
the company to draw a card, impressing upon his mind that 
as the cards are on the table it is impossible to influence his 
choice. Turn your back while he exhibits the card to the 

*See Chapter 3, page 41. 

168 



The Art of Magic 

audience. Request him to place the card face downward on 
the table and cover it wath his hand. When the card is on the 
table you glance at it to see if it has been reversed. If m 
you leave the pack spread on the table. If the card has not 
been reversed, which is likely, pick up the cards, and in squar- 
ing them up reverse the pack. You explain that the object in 
having the spectator press his palm on the card is in order to 
impregnate it with magnetism. After the pasteboard has been 
sufficiently ''magnetized" it is replaced and the pack shuffled. 
As the drawn card is reversed the spectators may shuffle the 
pack until the cows come home, as the saying is, without disturb- 
ing the performer's equanimity. 

Request the spectator to divide the pack into five or six 
packets. It is possible that the drawn card may be on top of 
one of these packets. Bat it makes no difference whether it is 
or not. The performer, beginning with the first packet on the 
left, flips the cards about on the table, watching them carefully 
so as to catch a glimpse of the reversed card. He treats each 
packet in turn in this way, and when he comes to the reversed 
card it is flipped to one side, and, using both hands, he thor- 
oughly mixes the cards, taking good care, of course, not to lose 
sight of the reversed, or chosen, card. After the mixing process 
the conjurer takes a penknife in his right hand, and explains 
that he will endeavor to discover the chosen card by means of 
the implement. ''It is simply an experiment in magnetism," 
says the performer. "By placing his hand over the card the 
gentleman impregnated it with a magnetic fluid. Now, it is 
well known that steel is attracted by magnetism, and taking ad- 
vantage of this natural law I shall endeavor to find the gentle- 
man's card by means of this steel blade. The card will act as 
the magnet and the knife-blade as the pole." The performer 
circles the knife over the cards with a slight trembling move- 
ment of the baud, and suddenly plunges the knife into a card. 
Requesting the spectator to name his card, the performer lifts 
up the knife and exhibits the chosen card. As he has kept the 
reversed card in sight all the time this part of the trick is not 
difficult. The whole feat, in fact, is the acme of simplicity, and 
there is no possible way, with ordinary precaution, by which 

159 



The Art of Magic 

it can fail. The author believes, however, that few card tricks 
are as astounding as this, and it can be used a lifetime without 
any one discovering the modus operandi. 

THE MAGICIAN'S WILL POWER. 

This is the title of a rather old, but very good, card trick. 
We shall first explain the method used by Mr. David Devant, 
as explained in his valuable little book entitled "Magic Made 
Easy," and will then describe our own improvement, which 
makes the simple experiment a veritable marvel of mystery. 

Effect — A pack of cards is spread face downward on the 
table, and the performer undertakes to make any member of 
the audience draw such cards from the pack as he "wills" 
him to draw. 

Time — Three to five minutes. 

Requisite and Preparation — Any pack of cards; no pre- 
paration. 

Presentation of the Trick — In this trick, to quote Mr. 
Devant, you undertake to make any member of the audience draw 
such cards as you may "will" him to draw. You are positive 
you can exercise your mil power, and so you ask him to take 
out a certain card from the pack spread face downward on the 
table. You name a card and ask the person to pick it out of the 
pack. He will naturally say that he does not know where it is, 
but you assure him that with your mystic will power you will 
direct him to the card you have named, which, let us say, is the 
six of spades. The spectator picks up a card and hands it to you. 
Thank him and assure him that he is quite right ; that it is the six 
of spades. You then ask for another card— say the ten of dia- 
monds. The spectator picks up another card and hands it to 
you. "Quite right," you remark. "It is the ten of diamonds." 
But add that you can do it quickey yourself. Explain that you 
often have curious presentiments, and that on this particular 
occasion you have a presentiment that a certain card you will 
touch will be the ace of clubs. You pick up a card and announce 
that your presentiment has been fulfilled. Turning to the person 
who has assisted in the experiment you say: "Let me see, I 
160 



The Art of Magic 

asked you for the six of spades and the ten of diamonds, and I 
said that I would take out the ace of clubs. There are the three 
cards. ' ' 

The trick is accomplished by sighting the bottom card of the 
pack. When you throw the pack down carelessly, and separate 
the cards on the table, you really keep the bottom card in sight 
all the time, and remember what it is. In this case we will 
suppose it is the six of spades. You ask your volunteer assistant 
to hand you the six of spades. The chances are fifty-one to one 
that he will pick out some other card, which (for sake of expla- 
nation ) , let us say is the ten of diamonds. You then ask for the 
ten of diamonds, and, let us say, get the ace of clubs. When you 
announce that you will select a card yourself, you pretend to 
pick up the ace of clubs, but in reality pick up the card which 
you know to be the six of spades. In this way the interested 
spectator has apparently handed you the two cards which you 
told him to pick out, and you have taken out the card which 
you announced that you would find. This trick requires no pra-c- 
tice, but it goes the better if the conjurer will invent a little 
suitable patter and will take care that the cards are strewn care- 
lessly over the table. The performer's eyes must not be fixed 
on the card which he knows. Let him sight it when he throws 
the cards down, and then remember its whereabouts on the table. 

The improvement on the trick is as follows : Use a pack of 
''Angel Backs," and instead of sighting the bottom card have 
one card reversed — say the six of spades. Allow the pack to be 
thoroughly shuffled, after which it is divided into five or six 
packets, as explained in the "The Transfixed Card." Now by 
spreading the cards carelessly on the table you locate the reversed 
card, and the trick is concluded in the manner already described. 
It frequently happens, if you leave the reversed card in a promi- 
nent position, that the spectator will pick up this card, which, 
of course, brings the trick to a still more effective conclusion, 
inasumch as you do not have to draw a card yourself. If this is 
the case, the performer, naturally, makes as much capital out of 
it as possible in his patter. 

161 



The Art of Magic 

PROPHECY DOWN-TO-DATE. 

One of the favorite tricks of the card wizard is to foretell a 
card or cards that will be thought of, or selected. There are a 
hundred and one methods of achieving this effect, which makes 
an extraordinary impression upon an audience. In some meth- 
ods special apparatus is employed, and in others various sleights 
are used : but none of them compares in simplicity and effect 
with the method which we shall now explain. Few card tricks 
have such a bewildering effect upon an audience, this effect being 
due, in great measure, to the fact that during the entire experi- 
ment the cards are under the control of the spectators. As a 
matter of fact, the pack literally is not once in the hands of the 
performer. 

Effect — The performer begins by handing a sealed envel- 
ope to a spectator. He then introduces a pack of cards still in 
the wrappei^, with the government stamp affixed. A spectator 
is requested to remove the pack and shuffle it thoroughly. The 
performer calls particular attention to the fact that throughout 
the experiment he will not touch the cards. The spectator who 
has shuffled the pack is directed to deal the cards face downward 
in five packets on the table, ten cards in each packet, with the 
exception of the last packet, which, of course, will contain twelve 
cards. This done the audience is requested to select one of the 
packets. This packet is shuffled by a spectator, who is told to 
deal the cards face downward on the table in two rows of five 
cards each, or, if the packet containing twelve cards is chosen, in 
two rows of six cards each. One of these rows is chosen. Five 
(or six) cards remain on the table. The audience is requested 
to select one of these cards. When they have made their choice, 
this card is turned over, and the spectator is requested to open 
the envelope. He finds therein a slip of paper on which is writ- 
ten the name of the identical card which has just been turned 
over on the table. As the performer has never touched the cards 
for an instant, and as the envelope was given to the spectator 
before the cards were taken from the case, the spectators are 
quite at a loss to account for the fact that the conjurer correctly 
162 



The Art of Magic 

foretold the card that would be chosen. But one pack of cards 
is used, and there is no exchange of envelopes. 

Time Occupied — Five to seven minutes. 

Requisites and Preparation — A sealed envelope containing 
a card, or a slip of paper, on which is written the name of a 
card, which, for the purpose of explanation, let us say, is the 
ace of spades, although any other card may be used ; a pack of 
''Angel Backs" arranged in the manner that is now familiar — 
that is to say, all the cards with the exception of one arranged as 
A in Fig. 13. The one exception is the ace of spades, which is 
reversed. The pack thus arranged is replaced in the wrappers 
and case, and the government stamp gummed on so as to afford 
ocular proof that the contents of the case have not been tam- 
pered with. 

Presentation of the Trick — The performer begins by 
handing the sealed envelope (containing the name of the ace of 
spades) to a spectator to hold, or place in his pocket. Another 
spectator, at the same time, removes the cards from their case 
and shuffles them. The performer requests the spectator to come 
to the table, and to deal one card face downward, another at its 
side, and so on until five cards have been dealt on the table, side 
by side. The volunteer assistant is now directed to deal the 
sixth card on top of the first; the seventh card on top of the 
second ; the eighth card on top of the third ; and so on until the 
entire fifty-two cards have been dealt into five packets. The 
reason the cards are dealt in this manner is to make it easier for 
the performer to follow them and to note in what packet the 
reversed card (the ace of spades) falls. Tf one packet were made 
at a time the cards would be dealt so fast that the performer's 
eye might not detect the reversed card. Dealt in the manner 
described, however, the performer cannot fail to locate the card. 
This knowledge gained it is a simple matter to force the right 
packet on the company. The performer leaves this packet on the 
table, taking away the other four. One of the company is re- 
quested to shuffle the cards in the chosen packet, and deal them 
face downward in two rows of five cards each. A glance at the 

163 



The Art of Magic 

cards acquaints the performer with the position of the reversed 
card, and he forces that row on the spectators, taking away the 
other row. The card must now be forced on the audience; but 
this will be a simple matter to the reader versed in the conjurer's 
subtle equivoques. For instance, let us suppose that the reversed 
card is No. 4, counting from left to right. Ask a spectator to 
select one of the five cards. If he chooses No. 4 the trick is 
finished without any more trouble on your part. Let us suppose, 
however, No. 3 is chosen. In this case, the performer immedi- 
ately takes away No. 3 and returns it to the pack, which is on one 
corner of the table. ' ' There are now four cards left, two inside 
and two outside," says the performer. ''Which will you select, 
the inside or the outside ? ' ' The probabilities are that the inside 
cards will be selected, in which case the performer takes away 
the outside cards. If, however, the company selects the outside 
cards. The performer says, briskly: "Thank you," and takes 
away the outside cards. Only two cards remain now, Nos. 2 
and 4, and No. 4 is forced by means of the familiar right or left 
dodge. The card is turned up by a spectator, the envelope is 
opened and the name of the card announced to the audience. 
Perhaps it is more effective to have the envelope opened and the 
name of the card read before the card on the table is turned up. 

Caution — Little can be said under this head. With ordin- 
ary care there is no possibility of the trick failing. At the outset 
give the cards for shuffling to some one who is accustomed to 
handling cards. If, inadvertentty, he should drop a few cards, 
step forward quickly and pick them up yourself. G-lance at them 
to see if the reversed card is among them. If it is not, toss the 
cards aside carelessly, offering no explanation. 

Concluding Observations and Suggestions — It may some- 
times happen that the performer will be obliged to perform this 
trick with cards other than "Angel Backs." He may not have 
his own cards with him. or at the time his own pack may not be 
arranged according to the system. In such a case he may vary 
the procedure, as follows: Offer the pack to be shuffled, and, 
in taking it back (in this method the performer is obliged to 
handle the pack for a moment), and while walking to his table, 
164 



The Art of Magic 

he glances at the third card from the bottom, which, let us say, 
is the six of spades. He drops the pack on the table and calls 
attention to the fact that in the experiment he will not touch 
the pack at all. He then writes the name of a card (the six of 
spades) on a piece of paper, of course not showing what he has 
written to the audience, places this slip in an envelope, seals the 
envelope, and hands it to some one for safe keeping. He now 
requests a spectator to cut the pack into four packets, as nearly 
equal as possible. He forces the packet containing the six of 
spades (the third card from the bottom), and asks the assistant 
to count the cards of this packet face downward on the table. 
The number of cards in the packet is not essential to the success 
of the experiment; but by this means the order of the cards is 
reversed, and the six of spades is third from the top. In order 
to make the trick more difficult, the performer explains, the spec- 
tator is requested to place the top card in the middle of the 
packet, and this manouver leaves the six of spades second from 
the top. The performer direct the spectator to deal three cards 
face downward on the table, side by side. This leaves the six of 
spades in the middle. The audience is requested to choose one 
of the three cards, and ninety-nine times out of a hundred they 
will select the middle card. This card is then turned over and 
compared with the name in the envelope. This method, of course, 
is neither so artistic nor effective as the first method, but it is a 
valuable subterfuge to have at one 's command. The skillful con- 
jurer, like the skillful carpenter, or any other good workman, 
never complains of his tools. He does the best he can under all 
circumstances, adapting his tricks and his methods to the means 
at hand. 



165 



CHAPTER IX. 



THE RISING CARDS. 

One of the most effective of all card tricks and certainly 
one of the oldest. Investigation, we believe, has disclosed the 
fact that the modus operandi of "the trick that mystified Herr- 
mann" was known and practiced in the middle of the seven- 
teenth century. There is an old Dutch book on magic in which 
there is an illustration of the thread stretched between two doors, 
which recalls the proverbial saying that there is nothing new 
under the sun. In spite of this, however, the author hopes to 
include some genuine novelties in this chapter and to promote an 
increased respect for this venerable trick. 

Although there are many variations of the rising cards, the 
mechanical means of accomplishing the effect are limited. The 
favorite method of causing cards to rise is by the use of "the con- 
jurer's faithful friend," the black silk thread. The thread is 
operated in divers ways. Sometimes it is drawn by the per- 
former himself, standing behind or beside his table; sometimes 
it is manipulated by a concealed assistant; or it is operated by 
mechanical means. One of the oldest methods was to have the 
thread attached to a small cylindrical weight within a pillar 
filled with sand. By moving a trigger at the foot of the pillar 
the sand was allowed to trickle slowly into a cavity in the base, 
and the weight, being deprived of its support, gradually sunk 
down and pulled the thread. This form of self operating 
mechanism was commonly used in conjunction with a piece of 
apparatus known as the card lyre, a rather awkward contraption, 
which would excite the risibilities of the modern audience. An- 
other method of drawing the thread is by a clockwork arrange- 
ment in a table. The most practical method, however, and the 

167 



The Art o£ Magic 

one commonly adopted, is to have the thread pulled by an assist- 
ant behind the scenes, or, in the case of a drawing-room perform- 
ance, in the rear of a convenient screen. The most serious draw- 
back to the mechanical methods of drawing the string is that the 
unintelligent force will not always obey orders and is likely to 
go back on the performer in the midst of the trick, which, to say 
the least, is not a recommendation. If the thread is pulled by an 
assistant, the performer may take his own time, and introduce 
many minor effects to the enhancement of the illusion. The 
first trick in this chapter we shall call 

THE TATTLINGS OF TOTO. 

This is a combination of old materials presented in such a 
novel form that the trick will be practically new to many read- 
ers. The author is indebted to the French publication, ''The 
Illusioniste, " for the idea of the amusing illusion, although he 
has added several effects of his own and arranged the patter 
so that it is suitable for American or English audiences. 

Effect — Six cards are drawn and returned to the pack, 
which is placed in a glass tumbler. A penny is borrowed and 
dropped into another glass tumbler. The penny indicates the 
drawn cards by jumping in the glass, after which the selected 
cards rise out of the pack. One of the cards rises with its back 
toward the audience, and after it has been pushed back into the 
pack it rises properly and bows politely to the spectators. 

Requisites and Preparation — A duplicate penny attached 
to a thread; two glasses; a pack of cards with several cards 
arranged with a thread. The thread attached to the coin is 
passed behind the scenes — or a screen — into the hands of an 
assistant. As three of the six selected cards are forced, dupli- 
cates of these the jack of spades, the ten of clubs, and the queen 
of hearts are previously threaded. In reality two jacks of spades 
are used, so that one of them may rise with its back toward the 
audience. One of the jacks is weighted at the bottom by a 
strip of very thin metal glued between the front and back. This 
is the first card to thread. In the center of the card, just one 
inch from the lower edge, make a small hole with a needle. The 
168 



The Art of Magic 

thread is put through this hole and a knat made on the front of 
the card so that the thread will not pull through. Lay this 
card face downward on the table, allowing the thread to pass 
along the center of the back of the card, toward the top; and on it 
lay, face downward, an indifferent card. The thread is returned 
along the center of this card, and on it place the second jack of 
spades, face upwards, so that in the actual perform- 
ance of the trick this particular card will rise with 
its back to the audience. Thread up again along the 
center of the face of this card, and place an in- 
different card on it. Again thread down the back, and on it 
place the ten of clubs, face downward. Thread up again and on 
it place an indifferent card. Thread along back and place the 
first card that is to rise, the queen of hearts, on this, and place 
two or three cards on the queen. Lay this part of the pack just 
behind the handkerchief on the table, face upward, the end from 
which the thread emerges pointing toward the center of the table. 
Leave a couple of feet of slack thread on the table. The thread 
extends over the back edge of table, in a line with the glass and 
plate on the center of the table. At the spot where the thread 
goes over the edge put into the cloth or covering one of the black 
pins, making it pass out of the cloth, over the thread, and into the 
cloth again. Let the thread fall to the floor, and similarly insert 
a pin into the carpet, over thread, and into carpet again. The 
thread then passes along the floor to where the assistant is con- 
cealed behind a screen, or into another room. The thread 
attached to the penny should be arranged in a similar manner 
with the other two pins. The glass and plate for the cards stand 
in the center of the table, while the other glass is a little to the 
left of the plate. The penny, attached to the thread, is just 
behind this glass. The pack of cards is in front of the plate. 
On top are three cards of the same suit and denomination a» 
those that are to rise from the pack. 

Presentation of Trick — Picking up the pack and shuffling 
it, taking care not to disturb the three cards on top, which are 
to be forced, the performer advances toward audience and re- 
quests a number of ladies and gentlemen to select a card each. 

169 



The Art of Magic 

Some six or eight cards are drawn, during which operation no 
difficulty should be experienced in forcing the three required 
cards (the queen of hearts, the ten of clubs and the jack of 
spades). The forced cards are returned first, so that the specta- 
tors may shuffle the pack. The performer makes the most of 
the opportunity saying, "Take the pack into your own hands, 
place your card in and shuffle." When the other cards are 
replaced, however, the performer makes the pass, bringing each 
card to the top, and sighting it as he moves toward the next 
chooser. If possible, arrange a code with the concealed assistant, 
so that by a few simple and natural phrases, such as "Thank 
5^ou," or "Much obliged," or "Watch me carefully," etc., he 
may become acquired with the cards. The reason for this will 
be patent later on. This arrangement, however, is not absolutely 
necessary, but it adds much to the effect of the experiment. 

Returning to the table the performer places the pack, face 
upward, on the threaded packet that lies behind the handker- 
chief, at the same time picking up the handkerchief with which 
he proceeds to wipe the glass. Then he drops the pack into the 
glass, the face of the cards towards audience, the end from which 
the thread emerges being uppermost, taking care that the thread 
between the cards does not slip out of position. He calls atten- 
tion to the fact that the glass is quite isolated, raising the plate 
and glass a few inches from the table, and then directs attention 
to the other glass. "Now that you are quite convinced that 
everything is fair and above board. ' ' says the conjurer, * * I would 
like to borrow a penny. (Loud noise off stage). Do not be 
alarmed; they are merely closing the doors. I assure you that 
when I borrow a penny I always return it. If it were a $20 
gold piece I might be tempted to become a captain of industry 
and organize a syndicate. You are quite sure that this is a gen- 
uine penny? Thank you. One cannot be too careful, even in 
small matters. I am going to put this penny in this glass (drop- 
ping it into the smaller glass). Oh, yes, the glass is quite unpre- 
pared." He lifts the glass and drops the penny on the table. 
After exhibiting the glass and tapping it with his wand, he 
170 



The Art of Magic 

replaces it on the table, the bottom covering the borrowed penny, 
and at the same time he picks up the penny attached to the 
thread and drops it into the glass. This penny has been lying 
on the table back of the glass, and when the performer replaced 
the handkerchief on the table he dropped it in such a position 
as to conceal the penny against the glass being removed. 

''And now," continues the performer, ''I am going to 
christen the penny. As I intend to hold a coversation with it 
that might be a little long, I think it would be more agreeable 
to call the piece by some more striking name than penny. As, 
some of you smile incredulously. You do not believe it possible 
to hold a conversation with a coin. Perfectly reasonable, I assure 
you — money talks. How do you like the name of Toto? All 
right. From this moment we shall call this copper Toto." 

''Now I shall magnetize Toto." The performer makes sev- 
eral passes with his hand or wand, at the same time looking 
expectantly into the glass. 

"Toto, are you asleep?" (No answer). 

"He does not answer because he is asleep. But I will make 
him understand me and answer my questions. I will make him 
talk in his sleep." (He blows on glass). 

"And now, Toto, do you hear me?" (The coin jumps in the 
glass). 

' ' What do you do when you say ' ' yes ? " ( The penny jumps ) . 

"And to say 'no'?" (The piece does not move). 

"All right, Toto. (He turns to audience). You under- 
stand. Toto jumps to say 'yes,' and does not move to say 'no.' 
Well, this is enough. We shall understand each other." 

Let us assume for the sake of illustration that six cards were 
drawn — three of which were forced. The performer, of course, 
has sighted and remembered the other three cards, and if he has 
not communicated this information to his assistant he pretends to 
read the minds of the spectators who drew the cards. "When- 
ever I look at any one through my wand," says the performer, 
squinting along the magic stick, ' ' I can tell all they are thinking 
about. But, pray, do not be alarmed, I shall not divulge any 
secrets, I shall content myself with naming the card you select- 

171 



The Art of Magic 

ed. You are thinking of it now. It was (naming card) ; and 
yours was (naming the next person's card) ; and yours was 
(naming the third person's card)." But the more artistic way 
is to communicate the requisite information to your assistant, so 
that the penny— or rather Toto— can reveal the cards. We shall 
assume that this is the method employed. 

''Toto, my friend, do you know the card that this lady 
drew ? "—referring to the first of the freely drawn cards, say 
the five of hearts. 

The assistant pulls the thread and the jumping coin answers 
*'yes." 

' ' He knows it. He knows more than I do. Is the card red ? ' ' 
''Yes." (Coin jumps). 

"Among the red cards are hearts and diamonds. Is it a 
heart?" 

"Yes." (Coin jumps). 
"Is it a picture card?" 
"No." (Coin doesn't move). 

"Then it is a spot card. Will you please jump as many 
times as the card has spots?" (The piece jumps five times). 

"The five of hearts. Is that correct?" (Performer appeals 
to the one who drew the card, and she is obliged to admit that 
Toto has correctly told her card). 

The performer then goes on to reveal the second of the freely 
drawn cards, say the six of clubs. 

"Toto, do you also know this gentleman's card?" 

"Yes." (The coin jumps). 

"Is it red like the first one?" 

' ' No. ' ' ( The coin doesn 't move ) . 

"Then it is a black one?" 

"Yes." (Coin jumps). 

"Of course, if it is not red it must be black." (Coin jumps 
madly in glass). 

"Among the black cards are spades and clubs. Is it a 
spade?" 

"No." (Coin doesn't move). 

"Then it must be a club?" 
172 



The Art of Magic 

^'Yes." (Coin jumps). 
' ' Is it a picture card ? ' ' 
''No." (Coin doesn't move). 
"Then it is a spot card?" 
''Yes." (Coin jumps). 

"How many spots? (The penny jumps six times). The 
six of clubs. Is that correct, sir?" 

The same operation is gone through with the third freely 
drawn card, and also with the first of the forced cards, which is • 
the queen of hearts. When Toto has revealed the queen of hearts 
the performer asks the spectator if she would like to see her card. 
She naturally answers in the affirmative. 

"Madame, you have only to command the card to appear and 
it will rise out of the glass." The lady says "Rise," but the card 
does not appear. The performer affects to be disconcerted. "Try 
again," he says to the lady. She does, so with no better result. 
The performer suddenly brightens up. "Ah, I know what the 
matter is," he says. "I forgot that your card is the queen of 
hearts. One cannot expect a lady — much less a queen — to be 
commanded in so peremptory a manner. Let me try. May it 
please your Majesty (with a profound bow) to favor us with 
your gracious presence. Please rise." The assistant pulls the 
thread and the queen "obligingly" rises from the pack. The 
second forced card, the ten of clubs, is likewise named and pro- 
duced from the pack. The last card is the jack of spades. 

"I believe the last card was taken by this gentleman," says 
the performer, pointing to the spectator. "Do you know that 
card, too, Toto?" 

The coin raps out ' ' Yes. ' ' 

"Is it a black one?" 

"Yes." 

"Is it a spade?" 
"Yes." 

"A picture card?" 
"Yes." 

"Is it a king?" 
"No." 

173 



The Art of Magic 

queen?" 
''No." 

"Then it must be a jack?" 
"Yes." 

"Is that correct, sir? Thank you. Toto seldom makes a 
mistake. Would you also like to see your card? Very well. 
Jack of spades, appear ! (The card appears with its back toward 
the audience). Well, well, what 's that ! (He removes the card) . 
It is the jack of spades, but he has a peculiar way of presenting 
himself to society. I have a good notion to give him a lesson in 
politeness. What do you think of it, Toto? (The piece jumps 
np and down several times)." The performer returns the jack 
of spades to the pack, taking care to replace the card in front of 
the arranged part. 

"Now appear!" 

This time the jack of spades rises with his knavish counte- 
nance toward the audience." 

"Ah, here you are, you impudent fellow! Aren't you 
ashamed of yourself ! How dare you appear before such a charm- 
ing audience showing your back ! I should think you would feel 
like hiding yourself!" The jack suddenly disappears, an effect 
accomplished by the assistant suddenly slacking the thread, the 
weighted end of the card carrying it down. 

"Ah, he is really sensitive. We can afford to be lenient. 
Appear. The ladies forgive you." (Jack appears). 

"Bow to the ladies." 

The jack bows three times — that is to say, the aissistant 
manipulates the string so that the card slowly falls and rises 
three times. 

"And to the gentlemen." 

"This time the jack bows three times very lively. 

"Good." (The performer takes jack and lays him on the 
table). "Now\ ladies and gentlemen, here is the jack of spades, 
here is the glass and here the deck of cards. (He removes cards 
from glass and springs them from hand to hand to demonstrate 
that they are unprepared). But I am not quite through with 
Toto. He knows people jiist as well as he knows cards, and to 
174 



The Art of Magic 

prove this assertion I will ask him to indicate the biggest story 
teller in the room. Toto, my friend, do you know who is the 
biggest story teller in this room ? ' ' 
"Yes." (Coin jumps). 

•'Are 3^ou disposed to name the person to us this evening?" 
"Yes." 

"Is it a man?" 
"Yes." 

"Is he on the right?" 
"No." 

"Then he must be on the left." 
"No." 

"What! He is neither to the right nor to the left. That 
is odd. Of course, you do not refer to me?" 

"Yes, yes, yes." (Coin jumps madly). 

"Stop, Toto! You are a prattler." The conjurer quickly 
throws the glass over, picks up the borrowed penny and returns 
it to its owner. ''Look out for this penny. It talks too much." 

DE KOLTA'S RISING CARDS. 
One of the finest performers of the rising cards was the 
late Buatier De Kolta. who worked this trick in such a deceptive 
manner that even the most expert magicians were puzzled. We 
refer to his old method of performing the trick, and not to the 
one in which all the cards rise from the glass, an effect that will 
be explained in due course. We doubt if the secret of Buatier 's 
original rising card trick is known to the profession at large. We 
have seen many explanations of the trick in print, not one of 
which was more than fifty per cent, accurate. Here is Professor 
Hoffmann's explanation, from "More Magic," Page 94: "Some 
performers, notably the celebrated Buatier De Kolta, work with 
a prearranged pack, and force a corresponding series of cards, 
but dispense with the aid of any assistant. The free end of the 
silk is, in Buatier 's case, attached to one of the hinder cards, 
which he rolls up into a little tube through which to blow at the 
cards in the houlette. such blowing being the ostensible motive 
power to cause their ascent. The gradual withdrawal of the 

175 



The Art of Magic 

body, naturally bent in the act of blowing, draws the silk taut 
and produces the desired effect." 

We give this explanation of the usually well-informed Pro- 
fessor Hoffmann for two reasons: first, because it describes the 
effect of the trick ; and second, because it is the nearest correct of 
the many explanations we have seen. The following is the cor- 
rect method of performing the original rising card trick of Bua- 
tier De Kolta : 

The three cards destined to rise are threaded on the same 
general principle of all rising card tricks but with a slight dif- 
ference — a difference, so to speak, that made all the difference 
in the world between Buatier's rising card trick and the tricks 
of his contemporaries. Instead of the thread being drawn ot'e?- 
the top of each indifferent card used as a fulcrum, it is drawn 
through a tiny hole near the top of each indifferent card. The 
hole should be drilled in the exact center of the card and about 
an eighth of an inch from the upper edge. Arranged in this 
manner the glass or houlette, while containing the pack, may be 
handed to the audience for examination without anyone being the 
wiser. But what of the free end of the thread? asks the acute 
reader. A very natural question. ''The free end of the silk," 
says Professor Hoffmann, ' ' is attached to one of the hinder cards, 
which he rolls up into a little tube through which to blow at the 
cards in the houlette, such blowing being the ostensible motive 
power to cause their ascent. ' ' This explanation is correct so far 
as it goes, but it does not go far enough. The "hinder card" is 
in reality a double card. That is to say, the edges of two cards 
are glued together around three sides, leaving the lower end open, 
thus forming a sort of envelope or pocket. Into this space the 
free end of the silk — two or three feet, as the case may be — is 
concealed. The end of the silk, of course, is permanently 
attached inside the double card. The thread should not be 
crowded into the double card in a helter-skelter manner, but 
should be neatly laid zigzagwise. The working of the trick will 
now be plain to the reader. The cards are threaded as described, 
the residuum of the silk being neatly laid in the double card. 
The arranged cards, face upward, are on the table, behind a 
176 



The Art of Magic 

handkerchief or some other object. The performer forces three 
duplicates. When these are replaced the pack is shuffled by the 
audience. Returning to the table the performer drops the pack 
face upward on the arranged pacliet, at the same time taking up 
the glass and handkerchief. He wipes the glass in order to 
prove that it is without preparation. The cards are now dropped 
into the glass and the apparatus" is carried into the audience 
and freely exhibited. Owing to the fact that the thread does not 
pass over the top of the prepared cards, and that the free end is 
concealed inside the double card, there is absolutely no danger 
in handing the glass to a spectator for cursory examination. 
When, a moment later, the glass is placed on a table or chair, 
near the front of the stage, or, if a drawing room performance, 
in front of the spectators, and the selected cards rise at the com- 
mand of the conjurer, there is something really spooky in the 
effect. The method of making cards rise is simple. The con- 
jurer simply removes the hinder card, that is to say, the double 
card containing the thread. As he removes the card the thread 
is pulled out of the envelope. The performer rolls the card into 
a little tube, through which he blows toward the glass. The 
gradual withdrawal of the body, naturally bent in the act of 
blowing, draws the silk taut and produces the desired effect, as 
Professor Hoffmann says. The editor of this book (Mr. 
Hilliard) uses a human hair instead of a thread, and allows a 
member of the audience to hold the glass while the cards ascend. 
In an artificial light and against a reasonably dark suit of clothes 
the hair is absolutely invisible. Care must be exercised in select- 
ing the hair for this experiment. Some hairs are more brittle 
than others, and some have a betraying sheen or glint. If a stout 
hair of a dull dark color be used, there is absolutely no danger of 
its being detected, even though the trick be performed directly 
under a strong light and in the midst of an audience. 

DE KOLTA'S NEW RISING CARDS. 
This is one of the triumphs of the inventor of the ''Flying 
Bird Cage," "Flowers from the Cone," the "Vanishing Lady," 
"Handkerchiefs and Soup Plate," the "Growing Die" and many 
other famous tricks and illusions. It is certain that if this master 

177 



The Art of Magic 

among modern conjurers had invented no other trick or illusion, 
his ''Rising Card" trick, in which all the cards fly from the 
glass, would be sufficient to carry his name to posterity. 

Effect — Three cards are drawn from a pack, returned and 
the pack shuffled. The pack is dropped into a glass, which is 
placed either on a table or a chair. At the conjurer's word of 
command the three chosen cards rise, one at a time, from the glass, 
after which all the cards leave the tumbler, one at a time. 

Time — Five to seven minutes. 

Requisites and Preparation — A pack of playing cards; a 
glass tumbler, preferably of the kind with a foot ; and a reel of 
black silk thread. 

The method of threading the pack in this trick differs radi- 
cally from all other methods known to magic. Here is the 
method : Take a card in the left hand and the thread in the 
right. In beginning the threading process, leave a loose end of 
the thread, about twice the length of a card, hanging below what 
will be the bottom of the pack when all is ready for the trick. 
Pass the thread up the back of this card, which we will designate 
as No. 1, over the top and thence down the face of the card. Now 
place the second card on the face of the first (the thread, of 
course, being between), and bring the thread up in front of the 
second card, passing it over the top of the two cards and thence 
doivn heJiind the rear card. Place a third card at the rear (on 
top of thread) and pass the thread up this card, over the top of 
the three cards, and down the front again. Place a fourth card 
in front, and pass the thread up and over the top of the four 
cards and thence down the rear card. Place a fifth card on the 
rear and continue passing thread alternately back and front, 
over the top each time, until the whole pack, save one card, is 
threaded. This last card, which should be a king of clubs or 
spades, has a slit in its lower edge. This slit should be large 
enough so that the thread may easily be drawn away and not pull 
the card with it. Pass the loose end of the thread, hanging below 
card No. 1 (in the center of the pack) towards the front of the 
pack, under this extra card which is placed on the front of the 
pack, thence up over its face and down behind the extra card, 
178 



The Art of Magic 

and just through the slit, where it is knotted so that the thread 
cannot be drawn through the slit. The last three cards threaded 
not counting the extra card at the front should be duplicates of 
the three that you are going to force. The pack thus arranged is 
lying in readiness on the table behind a handkerchief or some 
convenient object. The free end of the thread passes to the con- 
cealed assistant. In order to make the cards rise the thread must 
be pulled perpendicularly; that is to say, from the ''flies," or if 
in a drawing-room, the thread may pass over a gas fixture and 
thence to the hand of the concealed assistant. The simplest and 
best method of performing the trick in the drawing-room, how- 
ever, is to stand the glass on the seat of a chair. The thread, 
passing over the top of the chair, gives the necessary perpendicu- 
lar pull. It is also possible to accomplish the effect without the 
perpendicular pull. Tn this case the thread is pulled sideways; 
that is to say, at right angles with the glass. If this method is 
adopted a small notch should be cut in the bottom of each card 
to hold the thread, so that in pulling from the side there is no 
danger of the thread slipping from the card. Some performers 
do not take the trouble to fix the last card in the manner de- 
scribed, but we advise the reader that the extra trouble will not 
be wasted. As the cards rise alternately from the back and the 
front of the pack, the spectators would soon arrive at the conclu- 
sion that the cards are fixed in some manner, although of course, 
they would never dream of the real solution. The extra card, 
however, masks the cards that rise from the front of the pack, as 
it is the last to leave the glass. Furthermore, without this extra 
card, one of the chosen (forced) cards would of necessity be on 
the front of the pack, which would certainly detract from the 
effect of the trick. In the method described the extra card and 
card No. 1 leave the glass together. The extra card makes one 
revolution and the thread is drawn away. 

Presentation of Trick — The performer forces three cards 
on the audience, duplicates of those arranged to rise first from 
the threaded pack. These cards are shuffled back into the pack, 
and in the act of exhibiting the goblet the unprepared pack is 
exchanged for the threaded pack back of a handkerchief or other 

179 



The Art of Magic 

object on the table. The prepared pack is dropped into the glass, 
and with the usual patter the three cards rise from the pack. 
If desired this form of the trick may be performed in conjunction 
with the penny in the glass, as described in "The Tattlings of 
Toto. " After the last drawn card has risen from the pack the 
performer draws attention to the fact that only an ordinary glass 
is used and ordinary cards. To prove that there is no hocus- 
pocus about the cards he commands them all to leave the glass, 
which they obligingly do. Another pretty effect is to have four 
cards drawn (forced). Three of the cards rise, as described, and 
them, apparently forgetting all about the fourth card, you 
proceed to perform some other trick. The spectators will imrne- 
diately acquaint you with the fact that a fourth card was 
drawn. Feign embarrassment, and say that you had forgotten 
all about the card, and that you are afraid it is hopelessly lost in 
the pack. However, you will try your best to find it. and as some 
of the cards are in the way you command them to leave the glass. 
At the word of command all the cards fly from the glass, save 
one, which proves to be the selected card. This effect is inde- 
scribably pretty, and goes far toward removing any suspicion 
that the cards are prepared in any way. Only a slight variation 
in threading is necessary. Let us assume that the ace of hearts 
is to remain in the glass. We shall begin threading with this 
card. With the ace of hearts in the left hand, allow the loose 
end of the thread to hang down as before, although in this method 
a little more than the length of a card is required. Now pass the 
thread up the face of the ace of hearts, over the top of the card, 
down the back of the card. etc.. until all the cards but the last, 
or extra card, are threaded. Place the extra card on face of the 
pack as before, only this time with the slit edge at the top of 
pack instead of at the bottom, as in the previous method. Pass 
the loose end of thread, hanging below the pack, towards the 
front of the cards ; draw it up over the extra card and engage the 
end in the slit at the upper edge. If these directions are followed 
every card will leave the glass except card No. 1. in this case the 
ace of hearts. 
180 



The Art of Magic 

Another Method— This is the method performed by Magi- 
cian Kellar, although it was not invented by him. We believe 
that this method of threading the pack was originated by the late 
Harry Stork, who was assistant to Mr. Kellar at the time the 
trick was produced. The method is explained just as it was de- 
scribed to us by Mr. Stork himself. In this method the cards 
really fly from the glass, sometimes to a height of six feet, and no 
perpendicular pull is necessary. The thread is pulled from 
behind the cards as in the ordinary version of the rising cards. 
The thread in this case must be quite coarse. All the cards must 
have a slit cut in the upper edge, exactly at the center. This slit 
should be about half an inch long. The one exception is a card 
that has a slit at the bottom as well as the top. This we will 
call card No. 1, and with it will begin the process of threading the 
pack. Tie a small knot in the end of the thread and engage this 
knotted end in the slit at the lower end of the card, the knot 
being on the face side of the card. The thread is now passed up 
the back of the card and into the slit at the upper end. Instead 
of the thread passing down the front of the card, as described in 
the first method, it is brought back through the slit, the doubled 
thread forming a small loop on the face of the card. The thread 
is now passed down the back of the card, and card No. 2 is 
placed on top of the thread. The thread is brought under the 
lower edge of this second card and passed up the back and thence 
through the slit at the upper edge. The thread is brought back 
through the slit, as before, leaving a small loop on the face of 
the card. The double thickness of thread prevents this loop from 
being drawn through the slit. In fact, a strong pull is required 
to release the heavy loop from the slit, and it is this tension that 
throws the card so high in the air. The remainder of the cards 
are threaded in the same manner. If desired three or four cards 
can be forced, as in the other method, and these cards made to 
rise, one at a time, after which the entire pack will fly out of the 
glass. The exact method of working the trick we shall leave to 
the ingenuity of the reader. We may add that it is necessary to 
use a goblet with a foot in this form of the trick ; and owing to 
the strong pull necessary to release the cards from the looped 

181 



The Art of Magic 

thread the foot of the goblet must be clamped to the table, other- 
wise the pull on the thread will tip the glass over. One way of 
overcoming this difficulty is to have a slot in the table top, into 
which the foot of the tumbler freely slides; another way is to 
have three small metal arms pivoted to the top of the table, and 
these arms catch the foot of the tumbler in the act of setting the 
glass on the table. There are many mechanical methods by which 
this result may be accomplished, and undoubtedly the reader will 
prefer to devise a holder that will harmonize with his own tables. 

THE RISING CARDS IN THE SWINGING HOULETTE. 

In his entertaining volume entitled ''More Magic," Pro- 
fessor Hoffmann, writing of the different methods of performing 
the rising card trick, says: "In yet another and very pretty 
form of the trick, the invention of Professor Duprez, the houlette 
is of glass, suspended from the ceiling by a couple of silk rib- 
bons (some feet apart at the top), and set swinging by the per- 
former, the cards rising as usual, notwithstanding the swinging 
movement of the case. The ascent of the cards, under such 
circumstances, seems more than ordinarily magical. The secret 
lies in the fact that one of the ribbons is in fact double, being 
composed of two ribbons laid one on the other, and sewn together 
at the edges, so as to form a flat tube, through which passes the 
motive thread, led away across the ceiling to the hands of the 
assistant, the cards being arranged in the usual manner. The 
late Harry Stork improved upon this method by using a neat 
metal houlette instead of a glass. So far as we know Mr. Stork 
was the first to use this form of the trick in this country, and he 
afterwards sqld the apparatus to Alexander Herrmann. The 
swinging houlette is really one of the most beautiful and mysteri- 
ous of the rising card tricks; but for some reason it has been 
sadly neglected by magicians. Perhaps this is so because the 
trick is not thoroughly understood, and also because the houlette 
commonly sold by magical dealers is not entirely practical. We 
shall describe the trick exactly as performed by Mr. Stork, and 
as his original houlettes are before us we can assure the reader 
that if he will take the trouble to duplicate them, he will have not 
182 



The Art of Magic 

only a thoroughly practical piece of apparatus but also an exqui- 
site illusion to add to his programme. 

In the Stork method two houlettes are used, although the 
audience are aware of the existence of but one. These houlettes 
are simple metal cases, nickle plated, and just large enough to 
hold a pack of cards, see Fig. 23. There is no front nor back 




Fig. 23 



to the case, so that the cards are never wholly concealed from the 
sight of the spectators. On each side of the case, at the upper 
end, is soldered a small piece of wire, forming a sort of miniature 
handle, by which to affix the ribbons. One of these houlettes is 
devoid of any preparation whatsoever, and may be freely exam- 
ined by the audience. The other might also be examined and no 
one would be any the wiser. There is a slight difference between 
the two houlettes, however; for the bottom of one contains a 
slab of heavy metal. This houlette is the one suspended by rib- 
bons, the metal weighing it down so that when the thread is 
pulled there is absolutely no movement on the part of the hou- 
lette. If this weight were not used the pulling of the thread 
would jerk the case about, which, of course, would suggest the 
motive power and thus destroy the effect of the illusion. It is 
this slight detail that makes the trick practical, and yet it has 
been lacking from every houlette we have seen on sale in the 
magical shops. 

183 



The Art of Magic 

In the actual working of the trick the prepared, or threaded, 
pack is placed in the weighted houlette. The free end of the 
silk (the best thread for the purpose is orange-colored near-silk, 
or Clark's Lustre Crochet cotton) is threaded through a small 
hole in the center of the top edge of the case — of course at the 
rear. Thence it passes through a small eyelet soldered on the 
extreme right of the upper edge of the case, the eyelet being on 
a straight line with the hole through which the motive power is 
first threaded. The free end of the silk is tied into a loop; or, 
better still, make a loop of very fine wire and attach the thread 
to the wire. The wire loop should be about an inch in length, and 
the point where the ends of the wire cross in making the loop 
should be bound with silk, so that loop and silk will slip easily 
when drawn through the double ribbon. 

The houlette thus prepared is placed behind some object on 
the table. The empty houlette is offered for examination, and 
while it is being inspected the performer invites three spectators 
to draw cards, of course forcing duplicates of the cards arranged 
to rise from the other houlette. The spectators shuffle their cards 
into the pack, which is placed in the examined houlette. This 
houlette is now changed for the prepared one on the table. A 
clever method of exchanging houlettes is to fasten the prepared 
case inside of the coat, and during the journey back to the table 
the performer drops the unprepared houlette and cards into the 
breast pocket and takes out the prepared case. This houlette is 
attached to the two ribbons that hang from each side of the room 
or stage; the connection is made, and, in due course the cards 
rise. 

A word concerning the ribbons is necessary. Two ribbons 
are used, one of which is a double ribbon. Yellow satin ribbon, 
half an inch in width, is the most satisfactory kind. At the end 
of each ribbon is sewed a metal hook by which to hold the hou- 
lette. Both ribbons should be double so that they will look alike. 
Through one double ribbon runs a stout cord — oiled silk fishline 
is the best for the purpose. One end of the line is fastened to a 
dress hook of the kind illustrated in Fig. 24. This is the most 
184 



The Art of Magic 

satisfactory kind of hook to use, for it will neither catch nor bind 
in the ribbon. In the act of fastening the case to the ribbons the 
wire loop at the end of the thread is engaged in this hook and the 
motive power is ready for operation. 




Fig. 24 



As the performer will exhibit in drawing-rooms or stages of 
different dimensions it is advisable to make the ribbons extra 
long. For stage work each ribbon should be at least thirty feet 
long, while the drawing-room performer will find fifteen feet an 
ample length for each ribbon. The best as well as the simplest 
method of hanging the ribbons at each side of the stage or draw- 
ing-room is by means of a suspender end, about five or six inches 
long. One end of the suspender has a loop by which to suspend 
it on a convenient nail. To the other end is attached the ordinary 
suspender clip, through which the ribbon passes. The ribbon is 
adjusted in the same manner that suspenders are adjusted. 
When the exact length has been determined, the performer rips 
open about an inch of the double ribbon in front of the suspender 
clip, pulls the line through this opening, which should be in the 
top of the ribbon, passes it over a nail or hook in the wings or 
double doorway, and thence to the hands of the assistant. It is 
rather difficult to explain the exact method of hanging the ribbon 
but the reader will understand the modus operandi after a little 
experimenting. 

The author of this volume makes a specialty of this 
form of the rising card trick. He causes four selected cards to 
rise, including one that rises with the back toward the audience, 

185 



The Art o£ Magic 

At the word of command the card turns around and proves to be 
one of the drawn cards. This effect is accomplished by means of 
a mechanical card, which may be purchased at any dealer of 
magical supplies\ After the drawn cards have risen from the 
pack he concludes with the De Kolta rising card trick, all the 
cards flying from the houlette. The fact that the thread is drawn 
from the side of the case makes this charming effect possible. 
The pack is threaded in exactly the same manner as described 
in the first method of performing the De Kolta trick. 

THE THURSTON RISING CARDS. 

This trick is so named, perhaps, for the good and sufficient 
reason that Mr. Thurston did not invent it ; but as the effect is 
associated with his name we retain the title. The trick in its 
original form, worked by a thread across the stage, made the 
reputation of Mr. Thurston, who certainly got all the advertising 
possible out of the audacious phrase, "The man who mystified 
Herrmann." As the majority of our readers are familiar with 
this method of performing the trick, we shall not describe the 
modus operandi. Mr. Thurston, in his book of card tricks, de- 
scribes another method of performing the trick, by means of a 
piece of apparatus resembling a spring tape measure, the place of 
the tape being taken by a black silk thread. To one side of the 
brass box is fastened a safety pin, Avith which to affix the appa- 
ratus to the performer's clothing. On the other side is a button 
which, when pressed, allows the thread to be drawn into the box 
by the internal spring. At the end of the thread is a piece of 
conjurer's wax. This is attached to a card, and the thread 
passes up over the fingers of the right hand. By pressing the 
button on the box the thread is reeled in and the card rises to 
fingers of right hand. That is to say, it does in theory. In 
actual practice the apparatus does not work satisfactorily, in 
spite of the rosy descriptions in the magical catalogues. Like the 
razors of the commercially minded itinerant, this kind of appara- 
tus is made to sell. Mr. J. N. Thornton has improved somewhat 
on the Thurston apparatus. He has constructed a small, round 
tin box, japanned black, of a size to fit easily in the vest pocket. 
186 



The Art o£ Magic 

Inside the box is a wooden windlass mounted on a rubber band. 
The thread is wound around the windlass, the free end passing 
through a hole in the side of the box and terminating in a small 
leather button coated with wax. The simple act of drawing out 
the thread winds up the windlass, by twisting the rubber band, 
and when the hold on the thread is released the button flies back 
to the apparatus. While revising this volume for the press we 
received from Mr. Thornton an improvement upon his own appa- 
ratus. The box is the same, but the windlass is operated by a 
specially made spring instead of a rubber band. 

This apparatus works reasonably well when the conjurer is 
in a dress suit, and is performing at a comfortable distance from 
the audience; for no matter how fine the silken thread may be 
there is alwaj^s danger of it being seen at close quarters, and, 
furthermore, the windlass, in spite of all precautions, will 
''talk." 

The ideal rising card trick is one that may be performed 
anywhere, at any time, and with any pack of cards. This Mr. 
J. N. Hilliard is able to do by an improvement on the old 
Alberti method. 

The only apparatus used is a human hair about fourteen 
inches long. The exact length may be greater or less, as may be 
found most convenient by the performer. The hair is threaded 
into a needle and passed through the performer 's coat just under 
the right lapel, near the top button. The end of the hair inside 
the coat is tied to an ordinary button. The opposite end carries 
a minute pellet of wax. When not in use the hair is drawn down 
inside the coat until the waxed end is concealed under the lapel. 
As most coats have an inside pocket on the right side, the button 
and hair are kept in the pocket, where the hair is out of the way 
and cannot be inadvertantly broken. A hair thus arranged may 
be worn for months without danger of breaking, if the performer 
is reasonably careful. It is out of the way and always accessible 
at any moment. 

This preparation made, the performer advances to the com- 
pany and requests three members to draw cards, giving them full 
libertv of choice. When the cards are returned he brings them to 

187 



The Art of Magic 

be shuffled. The pack being returned, he replaces the three 
cards thereon. In walking back a few steps he has ample oppor- 
tunity to find the wax pellet under the right lapel and draw the 
hair out to its full length, the button keeping the end from 
pulling through the coat. He presses the pellet of wax against 
the upper part of the back of the hindermost card, which was 
the last card replaced. The right hand now makes a number of 
passes above and below the pack. As the right hand sweeps 
underneath the pack it encounters the slack hair, which is allowed 
to pass between the first and second fingers, and is drawn up until 
the right hand reaches a position about ten or twelve inches above 
the pack. 

Turning to the person whose card is to rise, the performer 
inquires : ' ' What was the name of the card you chose ? " " Jack 
of hearts" (or whatever it is), is the reply. ''Jack of hearts, 
rise," commands the performer, and the card obediently rises to 
the fingers of the right hand, when it is immediately handed out 
for examination. This rising is accomplished by a slight upward 
outward movement of the right hand, which is absolutely unde- 
tectable, and which will be mastered after a few trials, although 
it is rather difficult to describe. The second card rises in the 
same manner. Mr. Hilliard varies the method of the production 
of the third card. He presses the pellet of wax against the upper 
part of the back of the card and then drops the pack into a glass, 
turning the deck so that the waxen pellet is at the bottom. He 
hands the glass to a lady to hold, and waving his hands above the 
glass commands the card to rise. The slightest movement of the 
body will cause the card to rise, the edge of the glass acting as a 
fulcrum. If the performer stands directly back of the glass so 
that his coat forms a dark background, the hair is absolutely 
invisible to the person holding the glass. When the card has 
risen nearly to its full height above the pack it is removed by the 
performer, who secures the wax pellet and offers the card for 
examination. In replacing the glass on the table he draws down 
the button inside the coat, which action removes both the hair and 
the wax pellet from sight. This method of performing the rising 
cards is superior to any other, we make bold to say, inasmiteh as 
188 



The Art of Magic 

it may be done anywhere, at any time, and right under the eyes 
of the audience. We believe that the conjurer who once masters 
this method will rarely use any other, save perhaps when he 
wishes to present the illusion in a more elaborate and showy man- 
ner on the stage. As an impromptu trick it certainly has no 
peer. As a human hair is a very fragile thing and liable to be 
broken by an awkward movement of the hands, it is a good plan 
to have a fine silk thread also arranged in the coat in the same 
manner as the hair. If the hair breaks during the trick the per- 
former can bring it to a successful conclusion. The presence of 
the thread will give the conjurer unbounded confidence. If he 
desires the performer may use the thread for the first two pro- 
ductions and employ the train for the card rising from the pack 
in the glass. 

An amusing effect may be introduced in this method of 
performing the rising card trick. Run a thread through the back 
of the coat, between the shoulders, and pass it around to right 
side, below the right arm. This end terminates in a little pellet 
of wax and is stuck on one of the buttons of the coat. The other 
end is tied to the suspender on the left side. If the waxed end of 
the thread is attached to a card a slight pull on the thread by 
the left hand will bring the card on the performer's back. If this 
effect is added to the rising card trick, have four cards drawn, 
and, after three have been produced in the manner already de- 
scribed, draw the card onto the back and pretend to begin 
another trick. The audience will inform you that a fourth card 
was drawn, and after the usual assumption of embarrassment the 
card is discovered attached to the coat between the shoulders. 
It may be released by a slight jerk of the thread. 

For a very neat method of performing the rising card trick 
the author is indebted to Hugall Benedict, an English wizard. 
The effect of his trick is as follows: Three cards are selected, 
marked, and returned to the pack, which is dropped into a 
tumbler. On being called for each card rises from the glass and 
floats to the performer's hand. 

An ordinary pack of cards is employed, a glass tumbler, and 
a piece of fine silk thread, about a yard in length, to one end of 

189 



The Art of Magic 

which is attached a pellet of adhesive wax. To the other is tied 
a finger ring. Attach the waxed end of thread to a part of the 
ring, so that it will not be in the way. Ring and thread are 
placed behind some small object on the table, near the glass 
tumbler. 

The performer offers the pack to a member of the audience 
to shuffle and to select any card and to mark it. This done the 
pack is passed to someone else, who also selects and marks a card ; 
and so on with a third person. The performer takes back the 
pack and secretly palms three cards (face downwards from the 
bottom, in the left hand (for a good method of accomplishing this 
sleight see Erdnase's ''The Expert at the Card Table," Page 
86), and immediately hands the pack to a fourth person. He 
proceeds to collect the chosen cards (face downward) on the 
palm of his right hand, and they are apparently placed in the left 
hand. In reality he makes the Hellis change (see "Modern 
Magic," Page 33). The performer goes to the person who is 
holding the pack and requests him to cut the cards, and the three 
indifferent cards are dropped into pack, the selected cards being 
palmed in right hand. The gentleman is requested to shuffle the 
pack, and it is then placed on the table, the performer adding the 
three cards on top. He picks up the glass with his right hand 
and secretly slips the little finger of left hand into the ring. 
Offer the glass for examination, and, while it is being inspected, 
detach the wax end of thread from the ring and hold it in the 
right hand. Receive back glass in left hand, place it on table 
and take up with the right hand the pack, attach wax to top card, 
and drop pack into glass. The performer, standing with his 
right side to the audience, pretends to magnetize the cards with 
his right hand and in so doing obtains thread over the index 
finger and holds hand about nine inches above the glass, at the 
same time asking spectator to name the card last returned. On 
card being named, the performer asks the audience to watch the 
glass closely. Keeping his right hand perfectly still he moves his 
left hand rather quickly to the rear. (This movement will not 
be noticed as the left hand is hidden by the body and the eyes of 
the audience are on the glass). The jerk on the silk causes the 
190 



The Art of Magic 

card to jump out of the glass into the conjurer's right hand, and 
he immediately hands the card to the gentleman who selected it 
and requests him to identify the mark, at the same time removing 
wax and retaining same between first finger and thumb of right 
hand. Pack is taken out of glass with right hand and fanned out. 
the wax being secretly pressed on top card, which in its turn is 
likewise made to soar from the glass. The third card also rises 
from the glass in the same manner. 

RESSURECTION OF THE CARDS. 

This is a variation of the rising card trick. After four cards 
have been drawn by the audience, the performer burns them and 
gathers the ashes on a saucer. ' ' This would be a very expensive 
experiment," remarks the magician, ''were not playing cards 
endowed with the peculiar virtue of the phoenix. A playing 
card, like that fabled bird, rises from its own ashes." He exhib- 
its a large glass, into which he pours the ashes. The persons who 
chose the cards are requested to call their names, and as each card 
is announced it appears gradually over the border of the glass. 

The glass is a large goblet with cut sides. It may be handed 
to the audience for examination. When the magician takes it 
back he wipes the inside with a silk handkerchief. As the reader 
undoubtedly suspects, this is not done for the sole purpose of 
cleaning the glass. In reality the conjurer introduces a small 
box into the glass. This box is rectangular and just as high as 
the glass and just as wide as the diameter of the glass. It is 
large enough to hold freely eight cards — four that are to rise and 
four that act as fulcrums. The cards are threaded in the usual 
manner. The front and back of the box are of looking-glass, so 
that no matter which side you turn the glass the spectator appar- 
ently sees through it. The rest of the trick requires no explana- 
tion. 

Before bringing this chapter to an end we shall mention one 
or two ideas "touchin' and appertainin' " to the rising cards. 
The late Martin Chapender's method, as presented by him at 
Egyptian Hall, may be of interest, as he was a very finished per- 
former. He employed the familiar black thread stretched across 
the stage, just above the height of the performer's head. 

191 



The Art of Magic 

In the wings, at each side, the thread passes over a pulley- 
wheel, or through a round hook, and hangs about four feet down 
from this. At each end of the thread are attached small packets 
of cards — about a dozen — ^to act as counterweights. They keep 
the thread taut, but allow of it being easily drawn down and 
attached to a card which, when released, is drawn up by their 
weight. Most performers use prepared cards in this trick. That 
is to say, the cards that rise must have a sort of clip arrange- 
ment at the back in which to engage the thread. This method 
necessitates forcing duplicate cards. Mr. Chapender obviated 
this difficulty by using a small contrivance known as the ' ' Excel- 
sior Clip," which may be bought at any dealer in office supplies, 
and which is described on page 54 of ''Later Magic." Three 
cards are drawn by audience. The cards are marked and re- 
placed singly in deck. The cards are brought to top by 
means of the pass, and the pack is shuffled by the 
performer, leaving the selected cards on top. The "Excel- 
sior Clip" is snapped on the first card. The performer draws 
down the thread, engages it under the little arm of the clip, and 
the card duly rises to the right hand. The right hand removes 
the clip aud the card is handed to spectator, or scaled into the 
body of the th(iater. For obvious reasons this method is not 
applicable to the drawing-room. At such close quarters the clip 
would be plainly visible to the spectators. For the benefit of 
those who may prefer to use prepared cards we take pleasure in 
describing the method of preparing the card as used by Mr. 
Kellar. It is by all odds the best method yet devised for attach- 
ing the card to the horizontal thread. The clip, if such it may 
be called, cannot be detected at a distance of even two feet. 
For every two cards prepared another card must be sacrificed. 
Cut with sharp scissors from the end of a card a piece resembling 




Fig. 25 

Fig. 25. This piece is glued to the back of a whole card in such a 
192 



The Art of Magic 

manner that the point A (in the illustration) is free to form a 
sort of tongue under which to engage the thread. The entire 
pack is prepared in this manner. With the cards thus prepared 
it is impossible to miss the horizontal thread, and if cards with a 
fancy pattern are used they can almost be handed for examina- 
tion. A trial will convince the reader that this is the most prac- 
tical and satisfactory method of preparing cards for this form of 
the rising card trick. 

A correspondent. Mr. Hugh MuUoy, of Indianapolis, de- 
scribes his method of performing this trick in the drawing-room 
in the following words : "I presume I have used for a number 
of years about as crude a method of doing the rising card trick 
as is used by any magician. I carry with me two small, brass 
wheels. These have sharp points and before the entertainment 
are pushed in the jamb at either side of an alcove or doorway, 
and my thread runs over these pulleys and across the door at a 
convenient height, the ends being properly weighted. In the 
center of the thread I put wax of a strong adhesive quality. 
When I get my cards (whether forced or not) I bring them to the 
top, get my thread while waving my hand, and press it with 
the open hand to the back of the card. Sometimes I miss it, but 
I have some good patter ready, and try it again. In this way I 
don't have much to get ready, which suits me, as I am somewhat 
fussy. At my own home I have the thread always ready, and 
then of course, all I need for the trick is a pack of cards." 

Another correspondent, Morgan H. Winans, of New York, 
has a neat method of performing the rising card trick, in which 
he does away with the services of an assistant. Three chosen 
cards are caused to rise from the pack in a tumbler or other 
receptacle. The three cards are, of course, forced, and the dupli- 
cate pack is arranged as usual, with the thread passing alter- 
nately under and over the cards. The thread passes down to the 
floor and is attached to a small disc. This disc is made of card, 
blacked, or of leather, with a small tack stuck through it. (A dab 
of wax will do as well). Now step on the disc, which will stick 
to your shoe, and a slight move of the foot will pull thread 
causing the cards to rise, 

193 



The Art of Magic 

Another excellent method of performing the trick without 
the services of an assistant is to have a cap made to fit over the 
end of the wand, matching, of course, the genuine tip. Have the 
thread fastened to the duplicate cap and lay it on the table. 
When ready to perform the trick slip the cap onto the wand and 
proceed. Another clever method is to attach the thread to a 
handkerchief laid carelessly on the table. When about to per- 
form the trick simply pick up the handkerchief, wipe your hands, 
and thrust it into the breast pocket. An improvement is to have 
a hook on end of thread, in which case you can use any handker- 
chief. 

One of the prettiest effects in the line of the rising cards is 
known to the profession as the "Obliging Bouquet." This was 
one of Alexander Herrmann 's masterpieces. 

The effect, in brief, is this : ' A bouquet of real flowers is 
handed to a lady in the audience, and three or four cards are 
chosen from the pack. These cards are commanded to disappear. 
One by one they are then seen to rise from the bouquet while the 
flowers are in the hands of the lady. The secret lies in the use of 
a metal case just large enough to hold the cards, and the arrange- 
ment of the cards is the same as usual, with the exception that a 
human hair is substituted for silk. The case is placed in the 
center of the bouquet, in such a position that it is not visible from 
the outside, jet allowing the cards to have a free passage for 
their ascent. The greatest care must be taken in arranging the 
case in the flowers, although the trick is not nearly so difficult 
as it seems. The essentials are nerve and audacity. A thorough 
description of this trick will be found in Edwin Sache's admir- 
able treatise on ''Sleight of Hand," Page 202. The reader will 
also find the rising card trick described at length in the following 
standard works: ''Modern Magic," page 125; "More Magic," 
page 91; "Trick with Cards" (Hoffmann) page 211; "Conjur- 
ing and Magic" (Eobert-Houdin) page 231; "The Modern Con- 
jurer" (Lang Neil) pages 113 to 123. 

The latest and best rising card trick we know of is the inven- 
tion of Mr. W. Gr. Edwards, who refuses, however, to disclose 
the secret. 
194 



The Art of Magic 

In effect it is similar to the old method where the cards rise 
from the glass tumbler, but in this particular, and (if we must 
admit it) perplexing instance, any card called for immediately 
rises from the glass and falls to the table. 

One redeeming feature, however, is that the trick in this 
form is to be presented in the act of Mr. Downs. And if at 
the present time we cannot give a correct explanation of this 
perfection of the rising cards, we can at least look on and hope, 
that the clever inventor of this and other bewildering effects will 
one day rent the veil asunder, and pronounce the "Open Sesame" 
that will make us "en rapport." 



195 



CHAPTER X. 



THE FOUR ACE TRICK. 

Like the rising cards the four ace trick, in one variation or 
another, is a favorite with conjurers. Robert-Houdin, in his book 
on magic, ascribes its invention to Conus ; but the historical inves- 
tigations of the indefatigable Harry Houdini have impressed us 
with the wisdom of accepting many of the statements of Mr. 
Robert-Houdin with even more than the proverbial allowance of 
salt. However, there is nothing to be gained in controversial 
argument on this particular question. The salient point is that the 
magical eccentricilies of the four aces furnish some of the very 
best effects in the gentle art of hocus-pocus, and the man who 
invented the original four ace trick, be he Comte or Conus or 
Old Nick himself, deserves a tablet in the Magical Hall of Fame, 
or at least an engrossed set of commemorative resolutions sealed 
with the monogram of the Society of American JMagicians. 

The four ace trick naturally has been improved upon since 
its inventor's day, although the principle remains unchanged— 
the dispersing of the aces and their subsequent assemblage. 
Every performer, of course, has his own particular method of 
accomplishing this effect, in which he employs his pet passes and 
favorite ''moves;" but the following method may appeal to the 
amateur magician as something of a novelty. We are inde1)ted 
for the idea to ''Die Zauberwelt," but in the translation have 
added one or two original ideas. 

Effect — Same as the old four ace trick; that is, four aces 
are laid face downward on the table. Three indifferent cards are 
dealt on each ace. One packet is selected, and the four aces are 
assembled in that packet. 

Time Occupied — From three to six minutes, according to the 
amount of patter. 

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The Art of Magic 

Requisites and Preparation — An ordinary pack of cards, 
and three additional aces — clubs, hearts and diamonds. The 
seven aces are arranged in the pack as follows : 

I. Reckoning from the face of the pack : 

Ace of hearts, the fifth card. 

Ace of clubs, the tenth card. 

Ace of diamonds, the fifteenth card. 

Ace of clubs, the twentieth card. 

TI. Reckoning from the top of the pack : 

Ace of hearts, the second card. 

Ace of diamonds, the sixth card. 

Ace of spades, the tenth card. 

Presentation of Trick — The performer makes the usual 
announcement of the four ace trick, and proceeds to take the 
aces from the deck, for which purpose he turns the pack face 
upward in his hand, by which plan he is enabled to remove the 
ace as arranged in order I. The performer lays these aces on the 
table, face downward, in the order in which they are removed 
from the pack. This makes the ace of spades the second, count- 
ing from left to right. 

The performer then turns the pack over and deals three 
cards, one at a time, on each ace, from left to right. This gives 
you four piles of four cards each. The second pile, which has 
the ace of spades at the bottom, contains the three duplicate aces. 
The other three packets each have an ace at the bottom. You 
turn up each packet to convince the spectators that there is an 
ace on the bottom of each packet. Now force the second packet — 
that is, the one containing the four aces. Place the three remain- 
ing packets on the deck. It is now necessary to get rid of the 
three duplicate aces. The method explained in ''Die Zauber- 
welt" is rather clums}^ Herr Willmann directs that the "card 
artist" must palm off each ace as he places the packets on the 
deck; but this method is not very artistic. A better plan is to 
slip each ace to the bottom of the pack as the packets are returned 
to the deck. By holding the four cards of each packet fanwise in 
the right hand, and slipping the ace on the bottom and the other 
three cards on the top of the pack, the movement is as deceptive 
198 



; 



The Art of Magic 
as can be desired. With the three aces on the bottom, it does not 
require an unusual amount of dexterity to get rid of them. 

A good method of getting rid of the aces is contributed by a 
correspondent. He says: "My table is slightly prepared. The 
table itself is an ordinary one, of the kind that is commonly used 
for card tricks. The top is covered with black felt. Across the 
middle is stretched a piece of the same cloth, just a little wider 
than a card is long. A strip of gilt braid three-eights of an inch 
wide is sewed along either edge of this piece, and similar strips 
of braid are arranged on the table in a rectangular pattern. The 
strips of braid conceal the edges of the duplicate piece of black 
felt. 

The plan of getting rid of the aces will now be obvious. 
After showing each packet with an ace on the bottom the per- 
former replaces the packets on the table, moving them forward, 
during which operation the ace on the bottom is slipped under the 
felt flap at the center of the table. The trick is now practically 
done. The three packets (containing three cards only) are 
placed on the deck, which is given to a spectator to hold. Then 
in the most magical manner possible the three aces ''leave the 
pack" and join the ace of spades on the table, while the three 
"indifferent" cards return to the pack— at least that is what the 
spectators imagine, if you have performed the trick in the proper 
manner and with appropriate patter. 

Second Method — The four aces are placed on top of the 
pack by a spectator. The conjurer shifts three to the bottom, 
and deals an ace and three indifferent cards, separately, on the 
table. Three indifferent cards are dealt on each supposed ace. The 
three aces at the bottom are shifted to the top, and the performer 
takes up four cards, holding them so as to appear as one card. 
Pick up two or three other cards in same hand, as if you were 
looking for some particular card ; then replace cards on top of the 
pack and deal the three aces on the ace on table. If this is done 
carelessly the spectators will be convinced that you have dealt 
three indifferent cards on the ace, and the subsequent assemblage 
of the aces will have all the effect that can be desired. The 
feature of this method is the four card "stall." 

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The Art of Magic 

Third Method — Cover three aces with cloth of the same 
color as that used on your table. At the outset these cards are 
on the table where, under artificial light, they can not be detected 
by the keenest eye. You must remember the order of the suits. 
Hand four aces to the audience for the purpose of having them 
marked. Take back one ace (the ace of clubs for sake of illus- 
tration), and in turning toward the table make the bottom 
change, leaving the ace at the bottom of pack and placing the 
indifferent card on the cloth-covered ace of clubs on the table. 
On top of this card deal three indifferent cards, exhibiting them 
to the audience. Repeat the maneuver with the next two aces 
(say hearts and spades). At this juncture you have three aces 
on the bottom of the pack. Shift these to the top. Now place 
the ace of diamonds on the table, and on this ace deal the three 
aces from the top of pack. You can now pick up each packet and 
show an ace at the bottom. In replacing the packets shove them 
forward, leaving the cloth-covered aces at the rear of the table. 
The packet containing the four aces is forced, the other three 
packets are returned to the pack, and the trick is brought to the 
usual conclusion. This is a very mysterious trick, and will 
prove valuable to the amateur who is obliged to exhibit his tricks 
frequently before the same audiences. The most satisfactory 
method of preparing a cloth-covered card is to soak it in warm 
water, when it may easily be split. When the two halves ^re dry 
cover the hack with cloth, and turn the cloth around the edges, 
gluing it to the inside. The cloth should turn about an eighth 
of an inch. Now glue the front and back together and dry under 
a heavy weight, or, better still, in a letter-press. By turning the 
cloth in this manner, and gluing it between the two halves of 
the card the edges cannot ravel. Consequently a card prepared 
in this manner will last for years. 

Fourth Method — The feature of this method is that the 
four aces are laid face upward on the table, three indifferent 
cards being dealt, also face upward, on each ace. This is a beau- 
tiful and mystifying trick; and, as will be explained later, is 
admirably adapted for a stage performance. 
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The Art of Magic 

Prepare six aces (two hearts, two clubs and two diamonds) 
by splitting them and gluing indifferent cards to their backs. The 
ace of spades is not prepared. Place three of the prepared aces 
on the bottom of the pack, the indifferent side down. Then place 
nine miscellaneous cards beneath, and under these place the other 
prepared aces (ace side down) and leave the unprepared ace of 
spades at the bottom of the pack. 

In presenting the trick, the performer deals the aces (the 
ones at the bottom of the pack, of course) face upward on the 
table, placing them side by side, the ace of spades occupying the 
last position. Now deal three cards face upward on each ace, 
which operation gets rid of the nine indifferent cards originally 
placed between the two sets of prepared aces. The three pre- 
pared aces, the indifferent side face up, are dealt on the unpre- 
pared ace of spades. Pick up each packet, and spread the cards, 
showing one ace and three cards. In closing the packets turn 
over the ace under cover of the indifferent cards. When you 
exhibit the packet with the ace of spades on the back, bring this 
unprepared ace to the front and turn the three cards under cover 
of the ace. The aces are now with the ace of spades, and there 
are no aces in the other piles. By the familiar system of elimina- 
tion the spade pile is forced, and the remaining packets being 
returned to the pack. The pack is handed to a spectator, the 
three aces commanded to join the ace of spades on the table and 
the three indifferent cards to return to the pack. After the magic 
formula has been pronounced this transposition is found to have 
taken place. Although there are three prepared cards in the 
pack the performer need have no hesitation about inviting a 
spectator to look through the pack in order to convince himself 
that the aces are really gone. He will never think of looking at 
the backs of the cards. 

In order to make the trick suitable to the stage the performer 
utilizes a piece of apparatus familiar to the readers of Mr. 
Downs 's book on coin manipulation. This is a small triangular- 
shaped contrivance covered with black velvet. It stands on the 
performer's table, and the cards are laid against the outer face 
so that they are always in full view of the spectators. 

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The Art of Magic 

Fifth Method— This method is adapted to a small audience, 
and is excellent for impromptu work. It is one of specialties of 
the very clever Nate Leipzig. Four aces are shown; each one is 
marked by a spectator ; and they are then laid face downward on 
the table, side by side, three odd cards being dealt on each ace. 
As usual the four aces assemble in one heap. 

The basis of this trick is the old and familiar sleight known 
as the top change, which, at this late day, needs no explanation. 
Lay the four aces on the table, face downward. Hold the pack 
in left hand and with left thumb push three cards over the edge 
in readiness for the change. With the other hand pick up one 
of the aces and hand it to a spectator with the request that he or 
she will mark it. Eeceive the card back in right hand, and, 
sliding this card under another ace, pick up this second ace and 
also offer it to be marked. This card is received back in the 
right hand, on top of the first ace, and the two, held together as 
one card, are slipped under another ace. This third ace is 
offered to another spectator to mark, and is received back in the 
right hand on top of the other two aces. The three aces in right 
hand, held as one card, are now slipped under the fourth ace, 
which is likewise tendered to a spectator. While the fourth ace 
is being marked the performer exchanges the three aces in the 
right hand for the three indifferent cards on the top of the deck. 
This sleight is accomplished as he turns to lay the pack on the 
table. Receive back the fourth ace in left hand on which you 
immediately drop the three indifferent cards from the right hand. 
You now have a packet of four cards, one an ace (at the bottom) 
and three indifferent cards. Hold this packet so that the ace is 
visible, although not verbally calling attention to the card. Place 
the four cards face downward on the table as usual and deal three 
indifferent cards on each supposed ace, and the three aces on top 
of the ace. The trick is then brought to the familiar conclusion, 
the four aces assembling in one packet. This is a very fine sleight 
of hand experiment, and the reader is strongly advised to add it 
to his repertory; for it is convenient at time to have more than 
one method of accomplishing this popular effect. 
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The Art of Magic 

Sixth Method — This is also one of Mr. Leipzig's specialties, 
and we shall explain the trick as worked by this accomplished 
card artist, in whose hands it is a veritable mystery. 

Offer the four aces to a spectator with a request that they be 
marked, after which he is directed to place the ace of spades on 
the bottom of pack and ace of hearts on the top, the performer 
holding the pack in his own hand. The performer makes the 
double-hand pass, thus bringing ace of spades and ace of hearts 
to the center, and, lifting up the ace of hearts, he inserts the 
little finger between it and the lower part of the pack. Open- 
ing the pack at this break the performer requests the spectator 
to place the ace of clubs and the ace of diamonds in the center 
of pack. When this is done drop the ace of hearts on the two 
aces just replaced in the pack, and, closing up the cards, insert 
little finger between the ace of hearts and the ace of spades. Now 
make the shift, with an exaggerated move of the arms, so as to 
attract attention. This shift brings the ace of spades back to the 
bottom of the pack and the ace of hearts to its original position 
on the top. All is the same as before except that under the ace of 
hearts, at the top, are the ace of clubs and the ace of diamonds. 
The chances are that if the pass is made in the manner suggested 
some one in the audience will remark that the aces have been 
juggled away, or at least there will be suggestive smiles on the 
faces of the spectators. Quietly ask the audience to name the 
position of the different aces. They will probably answer that 
the ace of spades was on the bottom, that the ace of hearts ivas 
on the top, and that the ace of diamonds and the ace of clubs were 
in the center. Correct," replies the conjurer, turning over 
pack, so as to show the ace of spades. "The ace of spades is 
on the bottom, and (turning up top card) the ace of hearts ^5 
on the top, just as they were placed by this gentleman (indicat- 
ing the spectator). And the other two aces are in the center of 
pack. ' ' The conjurer does not offer to show that the ace of clubs 
and the ace of diamonds are in that position, which is not neces- 
cary ; for the other two aces being in their original position the 
spectators are satisfied that everything is as it should be, which is 
an illustration of the psychology of this fascinating art. The 

203 



The Art of Magic 

performer now shifts the two bottom cards to the top, so that the 
ace of spades is the second card from the top. "Would you 
believe," observes the conjurer, "that I could make the four 
aces fly from this pack? Really, it is a very simple matter. I 
have only to click the pack four times like this (clicking the 
lower corner of the pack with the little finger of the left hand) 
and the cards obey. See ! " He shows that the ace of spades has left 
the bottom of the pack, and, by turning up the indifferent card 
on top, shows that the ace of hearts has also obeyed his com- 
mand. Now comes the boldest and yet the most successful and 
convincing move of the whole trick. Observing that the ace of 
clubs and the ace of diamonds have also left the pack, the 
performer deliberately spreads the cards, one by one with the 
left thumb, face upward, before the eyes of one of the specta- 
tors. At the outset the cards are spread deliberately, the move- 
ment being accelerated after the center of the pack has been 
reached, while toward the last the cards are spread briskly. At 
the same time the performer holds the cards nearer to the face 
of the spectator, so that when the end of the pack is reached the 
cards are so close to the spectator's eyes that he is not able to 
see that the last six cards (four of them aces) are not spread at 
all, but are held as one card. The performer does not give the 
spectator any time to reflect. Turning abruptly he repeats the 
operation before the eyes of a second spectator. A third demon- 
stration is not necessary, as the audience is convinced by this 
time that the aces really have left the pack. 

Now for the reappearance of the wandering aces. Get rid 
of the top card either by the shift or a false shuffle. Hold pack 
in left hand, the face of the cards toward the audience. The posi- 
tion of pack is much the same as in the first position for executing 
the Charlier one-hand pass, with the single exception that the left 
thumb instead of resting on the upper edge of the deck extends 
over the face of the bottom card, as in the conventional position 
for dealing. The right hand now grasps the pack at the lower 
ends, between the thumb and first finger. The back of the right 
hand is toward audience, but the bottom card of the pack is not 
for an instant hidden from the eyes of the spectators. The 
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The Art of Magic 

ostensible reason for the right hand approaching the pack is to 
square up the cards ; but the real reason is to obtain possession of 
the top card of deck (the ace of spades). This is accomplished 
by the four fingers of the left hand pushing the top card down- 
ward until it is in a position to be palmed by the right hand. 
This operation is invisible, as the sliding of the card is masked 
by the right hand. A trial before a mirror will convince the 
conjurer of the practicability of this move, which m the hands of 
its inventor is an exceedingly subtle sleight. The right hand is 
now moved away from the left, and is then suddenly brought 
palm down on the face of the pack with a resounding slap, the 
right hand being immediately drawn back. The effect to the 
audience is that simultaneously with the noise the ace of spades 
appears on the face of the pack. The sudden and mysterious 
appearance of the card has a bewildering effect. Mr. Leipzig 
makes the three other aces appear in the same manner; but in 
less skillful hands such a proceeding is more or less dangerous, 
to say nothing of it violating the cardinal rule of conjuring, — 
namely, never to repeat a trick before the same audience. The 
reader is advised to produce the other aces by means of the vari- 
ous methods for producing what is known as the ^'color change." 
If he has faith in his skill he may produce the last ace in the same 
manner as he did the first. This trick is one of the very best of 
the four ace series, and. as this is the first time it has been ex- 
plained in print, the reader will no doubt add it to his list of 
accomplishments. 

Seventh 1\Tethod — This effect differs radically from the con- 
ventional four ace trick, but for obvious reasons is included in 
this chapter. In good hands it forms a satisfactory and mysti- 
fying experiment. 

Effect — The performer secures the assistance of two gen- 
tlemen from the audience. A pack of cards is handed to them 
with a request to remove the four aces and the four kings, and, 
if they so desire, to mark them. Two ordinary envelopes are 
examined; one is marked ''Kings," the other ''Aces," in large 
letters. The performer takes the envelope marked "Aces" and 
in it places the four aces, in full view of the spectators, seals it, 
^ 205 



The Art of Magic 

and hands it to one of the gentlemen. In like manner he places 
the kings in the other envelope, which is held by the second volun- 
teer assistant. A little patter and the gentlemen are requested 
to open the envelopes, when it is found that the aces and kings 
have changed places. 

Time Occupied — About five minutes — the exact time, of 
course, depending upon the amount of patter in which the per- 
former clothes the experiment. 

Requisites and Preparation — A duplicate ace and king, 
prepared by gluing to their backs cloth of the same color as that 
on the performer's table, preferably black or dark green. The 
prepared cards are on table. In addition to the feked cards, an 
ordinary pack of cards, two envelopes, and a lead pencil are used. 

Presentation of Trick — Invite two gentlemen to assist you 
and offer the cards to them, asking them to take out the aces and 
kings, and mark them with the pencil. Hand the envelopes to 
them, and while they are examining them take back the cards. 
Get the ace and king corresponding to the feked cards to the 
front of their respective piles, taking especial pains that the 
audience shall take note of the card at the bottom of these piles. 
Now lay the two piles of cards on the table, putting the pile of 
aces on the feked king and vice versa. Now call for the envelope 
marked "Aces;" take up the kings with the feked ace in front, 
and apparently place them in the envelope. ; In reality, after 
showing the ace at the bottom, the cards are turned with their 
backs to the spectators, and the four kings alone go into the 
envelope, the feked card slipping down behind on the outside. 
As soon as the feke is safely out of sight behind the envelope 
bend back the flap so that the audience can see that the four 
cards, which they imagine to be the aces, are really placed inside 
the envelope. The feked card is held behind the envelope with 
the thumb of the left hand, and is palmed in that hand in the 
act of raising the envelope to the lips to moisten the gum on the 
flap. The envelope is then handed back to one of the gentlemen, 
and the performer has an opportunity to dispose of the palmed 
card. The movements are then repeated with the other cards ; a 
little patter follows ; and the assistants are requested to open the 
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The Art of Magic 

envelopes, when the cards are found, to all appearances, to have 
changed places. 

The weak point in this trick is the repetition of the move- 
ments. This is easily avoided by the performer laying down the 
envelope first used, ostensibly to pull back his sleeves a little, 
but really to dispose of the feked card without palming. He is 
then able, in sealing the envelope, indirectly to call the attention 
of the audience to the fact that his hands are empty, which makes 
it easier to palm the second cloth-covered card without detection. 

The reader who is curious to delve into the history of the 
four ace trick and become acquainted with its innumerable varia- 
tions, may find the following references of interest: "Secrets 
of Conjuring and Magic" (Robert-Houdin) page 260; ''Modern 
Magic." pages 79, 80 and 93 -/'Tricks with Cards" (Hoffman) 
page 107; and ''TheModern Conjurer" (Lang Niel), page 113. 



207 



* 




CHAPTER XI. 



CARD TRICKS WITH APPARATUS AND IN COMBINA- 
TION WITH OTHER OBJECTS. 

The tricks described in this chapter are primarily intended 
for performance in the drawing-room, although they require the 
aid of mechanical appliances or apparatus. One or two of the 
tricks described, notably the cards appearing on the plate glass, 
are also suitable for presentation on the stage ; but as a rule card 
tricks are rather unsuitable for the modern large theater, as the 
spectators in the rear of the auditorium, or in the balcony and 
gallery cannot see the cards. Consequently much of the effect 
is lost. In a small theater, of course, conditions are more propi- 
tious. 

One of the most serious problems the amateur conjurer has 
to solve is that of apparatus. At first thought this would seem 
an extremelj^ simple affair. There are numerous manufacturers 
of and dealers in magical supplies, and their imaginatively illus- 
trated catalogues, all so much alike, are positively alluring. The 
• student is captivated by the cunningly contrived descriptions of 
tricks and illusions, and he soon begins to squander his money 
on various contraptions. We use the word ''squander" advis 
edly; for as a general rule the apparatus one purchases from 
professional dealers is not worth the money expended on express- 
age. There are two kinds of magical apparatus; the kind that 
works and the kind that does not. Generally speaking, the ama- 
teur buys the kind that does not. The professional conjurer, of 
course, has no such problem to solve. He knows what he wants 
and where to get it. In most cases the professional magician has 
his appliances constructed by skillful worlmien who know little 
or nothing of magic, and we advise the reader to do likewise. In 

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The Art of Magic 

every city or town are skillful machinists, metal workers and 
cabinet makers, who can turn out apparatus superior to anything 
that can be bought at most magical repositories ; and the student 
who knows what he wants w^ll have little difficulty in getting 
together by this means a collection of practical appliances for, 
and accessories of, magic that should, with reasonable care, last 
a lifetime. 

Of course there are some things that cannot be obtained out- 
side the conjuring shops, but the student should, if possible, do 
his purchasing in person. In this way he will secure a better 
quality of goods for his money. 

A list of reliable dealers in magical apparatus Avill be cheer- 
fully furnished by the publishers of this book on request. 

The student is advised not to rely too much on the use of 
apparatus. Mechanical appurtenances should be used sparingly 
and only in tricks that require dexterity and address. Tt cannot 
be gainsaid, however, that in a performance of even a half hour 
duration the effect is enhanced by the occasional introduction 
of a neat looking piece of apparatus which is not too suggestive 
of mechanism. The novice may imagine that no particular skill 
or adroitness is necessary in handling apparatus: but nothing 
could be farther from the truth. As a matter of fact, almost as 
much practice must be devoted to a mechanical trick as a feat of 
pure sleight of hand: for even the best made aids to conjuring 
have a habit of not working just at the critical moment; and. 
therefore, every detail of the trick must be carefully practiced 
and rehearsed. 

CARD, ORANGE AND CANDLE. 

This trick is one of the specialties of Mr. John Northern 
Hilliard, and while there is nothing absolutely new involved in 
the experiment, the combination of effects is entertaining and 
mystifying. 

Effect — A card is drawn and torn in eight pieces, one of 
which is retained by a spectator. The seven pieces are burned 
and the ashes passed into an orange held by a spectator. The 
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The Art of Magic 

orange is cut in half, and the restored card is discovered inside 
the orange. One corner of the card is missing, and the piece 
held by the spectator exactly fits the torn section. The eon-, 
jurer asks a lady if she would like to take the card home as a 
souvenir ; but, as the card is limp and soggy with orange juice, 
she naturally declines. The performer says that he will dry the 
card. He loads the card and its corner into his magic pistol 
and fires at a candle that has been burning on his table during 
the experiment. The card appears, dry and completely restored, 
in the flame, and is handed to the lady as a souvenir of the 
performance. 

Time Occupied— About ten minutes. 

Requisites and Preparation — An ordinary pack of cards; 
a conjurer's pistol; a plate containing three oranges, one of 
which is prepared; an envelope; and a mechanical candlestick. 
This is an ordinary looking brass candlestick, plain or nickle 
plated. The foot is weighted with a piece of lead, a cavity be- 
ing left between this and the foot proper for the purpose of 
concealing a card. To the top edge of the candlestick is hinged 
an arm of iron wire, the hinge being provided with a stronj? 
spiral spring with a tendency to keep the arm in an upright 
position behind the candle. On the other end of the arm is 
a metal clip for holding a card, which, when the arm is in posi- 
tion, will appear to be in the flame of the candle. The flame, 
of course, is extinguished by the force of the shock. To pre- 
pare for the trick load the arm with a duplicate of the card that 
is to be found in the orange. A small metal button keeps the 
arm in position, which is released by a thread in the hands of 
an assistant. The orange, which should be of the large navel 
variety, is prepared as follows: Remove the pip and save it for 
future use. Now with a sharp pointed instrument, about the 
diameter of a lead pencil, puncture the top of the orange in the 
exact spot from which the pip was taken, exercising more or 
less care not to break or cut the surrounding skin. The tough, 
fibrous core may now be removed, which will afford space enough 
to accommodate a card rolled cigarettewise. Before rolling the 
card should be soaked in water for a few moments, otherwise 

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The Art of Magic 

when produced from the orange it will have a creased and 
cracked appearance suggestive of folding. As a card inside an 
orange would naturally be soaked, the preliminary wetting 
makes no difference in the denouement of the trick. The moistened 
card is rolled up tightly as possible, when it is gently forced 
into the orange through the small hole at the top, the operator 
taking care that the hole is not enlarged or the skin of the orange 
abraded. Push the card well into the orange, and fill in the 
hole with the tough white fibrous substance from another orange. 
Then with a little adhesive wax attach the pip to its proper place, 
when a microscopical examination will not reveal anything wrong 
with the fruit. If the building up" process, so to speak, has 
been done properly, the spectator may even remove the pip 
without being any the wiser. The performer is advised to 
mark the prepared orange so that he may readily know which 
globe contains the card. The simplest way is to remove the pips 
from the two unprepared oranges. Their absence will not be 
remarked by the audience. Of course the card in the orange 
must have a piece torn from one corner, and this piece must be 
concealed either on the person of the conjurer or in some readily 
accessible place, say under the envelope on the table. This en- 
velope should be as small as practicable. The performer has 
another envelope similar to the one on the table, but made of 
flash paper. This envelope contains several small pieces of 
flash paper, so that when the envelope is held in front of' a 
light the spectators will see what they suppose are the pieces of 
cards. This duplicate envelope should be placed under the 
performer's vest, or in some convenient pocket, where it may 
be readily ' 'ringed," or changed, for the ordinary envelope. 
On the table, in addition to the articles described, there should 
be a fruit plate, a knife, and a magician's pistol. 

Presentation of Trick — The performer brings forward a 
plate containing three oranges arranged in triangle form, so 
that the prepared orange will be at the apex. Request a spec- 
tator to select an orange, and the chances are that the center 
one (the orange at the apex) will be chosen. Allow the orange 
to be examined, and then place it on the table at the foot of the 
212 



The Art of Magic 

prepared candlestick, the candle of which should be burning 
throughout the experiment. Eequest a lady to draw a card, 
forcing a duplicate of the card in the orange, say the queen of 
clubs. Have the queen torn in eight pieces and place the pieces 
in the unprepared envelope. The performer m picking up this 
envelope gets possession of the corner torn from the card in the 
orange. Placing the eight pieces in the envelope the performer 
starts to seal the top down, but bethinks himself that there is 
no way to identify the mutilated card. Accordingly he takes 
out one of the pieces, really, of course, bringing out the duplicate 
piece, which has been concealed in his fingers. Handing this 
piece to the spectator who drew the card, the performer seals 
the envelope, and, in turning toward his table, exchanges it for 
the envelope made of flash paper. He holds this in front of the 
candle, to prove that the pieces are still there ; but with appar- 
ent carelessness he moves the envlope too close to the flame. 
The envelope disappears in a flash. The performer pretends 
to be disconcerted; but finally professes to believe that the con- 
tents may have passed into the orange. The orange, on a plate, 
is handed to a spectator, who cuts it open and finds the card. 
The orange should be cut open at right angles to the position of 
the rolled up card, so that when the fruit is divided into halves 
the card sticks up in one half. The piece retained by the spec- 
tator is matched to the missing corner. 

Having demonstrated by this apparently honest method that 
the card is the same one the spectator destroyed, the performer 
asks a lady if she would care to take the card home as a souvenir. 
She naturally answers in the negative. ''It is rather soggy," 
replies the performer, ''but that is easily remedied. Do you 
know how to launder cards ? No ? Well, I '11 give you an idea of 
the process. ' ' The conjurer loads the wet card and the dry cor- 
ner into his pistol, and fires at the candle. The restored card 
immediately appears in the place of the flame and is tendered to 
the lady as a souvenir of the performance. 

This is one arrangement of the trick, which, of course, is 
susceptible to many variations, and the student with any origin- 
ality will introduce novelties of his own. In the present form, 

213 V 



The Art of Magic 

however, the trick has always caused unbounded amazement 
wherever performed. The idea of the card being introduced 
into the orange previous to the presentation of the trick never 
enters the minds of the spectators, and, therefore, they are 
astounded when it is discovered. Even if one of the more acute 
of the spectators suspects the preparation of the fruit, the torn 
corner method of identification, effectually disposes of that 
theory. 

THE CARD IN THE FRAME. 

One of the most effective of card-apparatus tricks is that of 
a chosen card appearing in a frame. Sundry frames for ob- 
taining this effect are on the magical market, ranging from the 
cumbersome and suggestive picture frame supported on a brazen 
pillar and enclosing a background of black cloth whereon cards 
and sundry articles are made to appear, down to the simple glass 
mounted on a wire frame, on the cardboard mount of which a 
chosen card appears. The simplest of all frames was invented 
by Professor Field of Royal Aquarium celebrity. Its only draw- 
back is that after placing the frame and cardboard mount to- 
gether the frame cannot be shown empty, but has to be covered 
with a handkerchief. This defect is remedied in the frame about 
to be described, which is the most perfect apparatus of the kind 
ever devised. The performer who adds this piece of apparatus 
to his collection will never use any other card frame. The trick 
is equally good for stage or parlor. 

Effect — A small frame is taken apart and shown to be de- 
void of any trickery, the parts being examined by the audience. 
It is then put together, and, after once more being shown empty, 
is wrapped in a piece of newspaper. A dra^vn card is torn into 
several pieces, one of which is retained, and the pieces are loaded 
into a pistol and fired at the frame. A spectator removes the 
newspaper covering, and the restored card is discovered inside 
the frame — that is to say, the card is restored with the exception 
of one corner. The frame is taken apart and the card handed to 
spectator, who, upon experimenting, discovers that the piece he 
retained exactly fits the mutilated corner. 
214 



The Art of Magic 

Time Occupied — Five to seven minutes, according to amount 
of patter. 

Requisites and Preparation — An ordinary pack of cards; 
a conjuring pistol; two sheets of newspaper; and a card frame. 
This frame will need a detailed description. The frame proper 
is innocent of preparation and resembles the illustration, see Fig. 
26. It is made of mahogany, or ebony, highly polished, though 
of coarse any other wood will do equally as well. The most eon- 




Fig. 26 

venient size is about ten inches by seven. The frame itself is 
one inch wide and three quar-ters of an inch thick. The frame 
has a wooden back, kept in position by a tongue of wood turn- 
ing on a pivot, after the manner of a photographic printing 
frame or the drawing slates of the toy shop. The space behind 
the glass is filled by a sheet of white cardboard. The card to 
appear is at the outset stuck on the hinder side of the cardboard 
with a minute piece of conjuring wax, just as in Professor Field's 

215 



The Art of Magic 

trick. The frame, however, has an important addition. This is 
an oblong piece of thin copper of a size to fit loosely in the front 
of the frame. The two sides and one of the ends of the copper 
slab are turned slightly so as to hold a piece of glass backed with 
white paper so as to resemble the cardboard mount in the frame 
proper. By turning three sides only of the copper, f eke the glass, 
should it be broken, may be easily removed, and another piece 
slipped in. The turned over pieces are japanned to match the 
wood of the frame and the back of the copper f eke is painted 
black. 

It is obvious that when this feke is fitted into the front of 
the frame the latter will appear empty. We advise the reader 
to have the inside of the frame beveled, in which case the edges 
of the feke will be invisible, seemingly forming a part of the 
beveled frame. The frame may be bought of any dealer in such 
materials, and any metal maker will turn out the copper feke in 
a few moments. A glazier will cut the requisite glasses for a few 
pennies. 

The actual preparations are as follows: The various parts 
of the frame are on the table. As the top of the feke is the 
same color as the table top it will not be visible in an artificial 
light — that is to say, if the spectators are sitting at some dis- 
tance from the table. In order that the trick may be performed 
without risk in a small room we have devised a better way of 
concealing the feke. The two sheets of newspaper are folded in 
four and placed over the feke. The frame is lying on the 
papers, the front of the frame being downward. The glass, the 
wooden back and the cardboard mount are also lying on the 
table in plain view of the audience. To the under side of the 
cardboard mount is affixed with a minute pellet of wax a dupli- 
cate of the card you intend to force — let us say the king of 
spades, as a black card shows up to better advantage in the 
frame. One corner of the card is missing, and this piece is 
concealed in some convenient pocket ready for use. A pack of 
cards, with a king of spades on top ready for forcing, and a con- 
jurer's pistol complete the arrangement. 
216 



The Art of Magic 

Presentation of Trick— Call attention to the simplicity of 
the frame, carr^^ng it among the spectators for examination. 
Returning to the table you remove the folded sheets of news- 
paper with the left hand, at the same instant placing the frame 
over the feke, which is now rendered absolutely invisible, even at 
a distance of two feet if the inside and rear of frame are painted 
black. The papers are unfolded and hung over a chair standing 
near the table. The most important part of the trick is now 
accomplished. You have, in the most natural manner in the 
world, succeeded in getting the feke into the frame. Now call 
attention to the glass, holding it up so that all may see through 
it, remarking, as ''our Mr. Ellis Stanyon" would say, that you 
hope the audience will not see through the trick as easily as they 
see through the glass. Place the glass in the frame and casually 
pick up the cardboard mount. We say "casually," advisedly, 
for the reason that the performer must be as nonchalant with 
this article as he was with the glass. On the success of convinc- 
ing your audience that there is nothing unusual about the card- 
board mount depends the success or failure of the trick. On the 
hinder part of the cardboard, it will be remembered, is the card 
destined to appear in the frame, and consequently the mount is 
exhibited with the unprepared part toward the audience. It is 
held upright between the tips of the first and second fingers in 
front and the tip of the thumb behind. The arm is upright. 
The performer now lowers the arm vertically, apparently showing 
the opposite side of the cardboard. As a matter of fact, however, 
he at the same time gives the arm a half -turn, the second finger, 
moving behind the cardboard, taking the place of the thumb, 
which is now extended and takes no further part in the artifice. 
The effect on the spectators is that you have shown both sides of 
the cardboard, whereas in reality it is the same side of the card- 
board which is again exhibited. At first thought the move may 
seem audacious, but it is perfectly practical and absolutely decep- 
tive. Still holding the cardboard between the extended first and 
second fingers (the first finger on top and the second finger 
underneath) drop the cardboard mount on the glass in the 
frame. Now exhibit the back of the frame in exactly the same 

217 



The Art o£ Magic 

manner as you did the cardboard and going through the same 
movements as before only with this exception, that in this case 
you actual iy do exhibit the front and hinder part of the piece 
of board. As the hinder part has a ' ' button, ' ' or cross-bar, the 
spectators, convinced that they have seen both sides, will have 
no suspicions concerning the cardboard. The back is put in its 
place and made secure. 

Having assembled the frame the performer picks it up with 
the fake front in position and calls attention to the fact that the 
frame is unprepared, rapping with fingers or wand on the front 
(the glass part of the feke) to prove that everything is statuo 
quo. He may even go down among the audience to exhibit the 
frame, but in our opinion this is rather overdoing matters. 
Holding the frame in the left hand, the front toward audience 
the performer takes the two sheets of newspaper in the right 
hand. He now lays the frame face downward on the table, and 
holding a sheet of newspaper in the left hand and one in the 
right he shows both sides of each sheet. He then takes both 
sheets in the right hand. " I am going to wrap the frame in one 
of these papers," says the performer, and suiting the action to 
the word he picks up the frame with the left hand, leaving the 
feke on table, and at precisely the same moment drops both 
sheets of the paper over the feke. Without an instant's pause the 
frame is laid on the paper, is wrapped up in the top sheet, and 
handed to a spectator for safe keeping. The other sheet remains 
on the table concealing the feke. The performer should practice 
so as to perform these different moves without hesitation, as the 
subterfuge may be used to excellent advantage in many ways. 
The performer now proceeds to force the proper card. It is torn 
up, one piece retained (it is really the corner from the card in 
the frame that is handed tc the spectator) and the other pieces 
are rammed into the pistol and fired at the frame. The spectator 
removes the newspaper, and the restored card is revealed be- 
tween the glass and the cardboard mount. The performer assists 
the spectator to take the frame apart and removes the card from 
the mount himself. If the right amount of wax is used there vnli 
be no telltale smudge on either the card or the mount. 
218 



The Art of Magic 

We have been somewhat prolix iu describing this elfect for 
the reason that it is one of the finest card tricks in which appara- 
tus is used, and the apparatus is so simple that the amateur 
magician may readily have it constructed for an insignificant 
sum. It is by all odds the best frame trick ever invented, and 
the most ingenious apparatus of its kind since Bosco, or who- 
ever it was, invented the sand frame. The trick combines just 
enough of the mechanical with the proper amount of sleight of 
hand to make an ideal conjuring trick, and we predict that once 
the reader has added this trick to his programme he will never 
discard it. The author wishes that he knew to a certainty who 
invented this frame ; for it would be a source of gratification to 
give credit to the clever man who conceived the idea. All the 
author is reasonably certain of is that the frame came origi- 
nally from England, and that it was introduced into this coun- 
try by J. Warren Keene. In the original form a sheet of cellu- 
loid was used for the feke. This material may do tolerably v^^ell 
for the stage, where the spectators are at a goodly distance from 
the performer ; but it is not satisfactory for the close quarters of 
the drawing-room. The feke constructed of glass and copper is 
our own improvement, and has proved eminently satisfactory. 
For stage work a larger frame should be used and three cards 
made to appear instead of one. For drawing-room purposes one 
card is preferred ; for without the torn corner method of identi- 
fication the trick loses much of its effect. 

The magician Hornman works the card and frame trick 
with a mirror instead of ordinary glass. A framed mirror, six 
by eight inches, is exhibited to the audience, back and front, the 
performer holding it so that the spectators may see the reflection 
of their faces. The frame is then placed on the table and cov- 
ered with a handkerchief. A selected card is placed in a pistol 
and fired at the frame, and the handkerchief falling from the 
frame reveals the restored card. 

The acute reader has already guessed that two mirrors are 
used. One is stationary in the frame, the other slides in a 
groove. The space between the two mirrors is about the thick- 
ness of a card. The card to appear is affixed by a dab of wax 

219 



The Art of Magic 

to the stationary mirror, and the other mirror is put in its place 
in front. The frame may be casually exhibited. In returning to 
the table the sliding mirror must be disposed of. One way is to 
drop it into a servante, in the act of covering the frame with a 
handkerchief ; or a slit can be cut in the table through which the 
mirror may slide. Another way is to dispose of the mirror in 
a chair servante, doing away with the use of the table. In this 
method, which, in our opinion, is preferable, the covered frame 
may be stood upright against the back of the chair. The drop- 
ping of the handkerchief at the report of the pistol is accom- 
plished by means of a silk thread to one end of which is a small 
hook — a bent pin will do the trick as well as anything. In the 
act of covering the frame the hook is engaged in the handker- 
chief. The assistant does the rest ; or, if no assistant is conven- 
ient, the free end of the thread may be attached to the pistol, 
and in the act of firing the performer himself pulls the thread. 
We have given merely the skeleton of the trick. The performer, 
of course, will utilize the torn corner effect and invest the trick 
with appropriate patter. 

THE VALLADON CARDS ON GLASS. 

We give the above title to the following trick for the reason 
that it is generally associated with Mr. Valladon, although we 
are not aware that he is the inventor of the really excellent com- 
bination. 



I — S}- 



Hi — I 



♦ ♦ 

♦ ♦ 



Fig. 27 

Effect — Three cards are drawn, replaced, and the pack 
shuffled. The pack is magnetized (in a Pickwickian sense, of 
220 



The Art of Magic 

course) aud caused to adhere to a sheet of plate glass suspended 
frcm a large metal stand. On a small table or tabouret in front 
of the hanging glass is a lighted candle. The performer offers a 
pistol to one of the audience and requests him to shoot at the 
pack on the glass. The spectator does so and the shot extin- 
guishes the candle. The performer then fires at the candle and 
his shot relights it. He also fires at the pack on the glass, and 
at the report all the cards fall to the floor with the exception of 
the three drawn cards, which attach themselves to the glass in 
the manner depicted in Fig. 27. 

Time Occupied — Seven minutes. 

Requisites and Preparation — A sheet of plate glass and a 
framework from which it is suspended; a mechanical candle- 
stick; a pistol; two packs of cards; a mechanical folding card, 
or rather three cards arranged so as to fold and expand at the 
option of the performer; and a peculiar "sucker" device. We 
shall describe each item separately. 

As the plate glass and frame before us as we write were 
made for stage presentation we shall base our description on its 
dimensions, although the reader may have it constructed of any 




Fig. 28 

size he may desire. The frame, as shown in Fig. 



28, 



is seven feet 
221 



The Art of Magic 

high (including bases) and three feet three inches wide. It is 
constructed of gas-pipe nickle plated, and each side is made of 
two rods, for convenience in packing. As a matter of fact, the 
whole frame work may be taken apart. From each corner of the 
frame depends a stout chain twenty-six inches long. The sheet 
of plate glass, which hangs from these chains, is nineteen inches 
long by seventeen inches wide. Two nickle plated metal loops, 
two inches long, are riveted through the glass at the upper part, 
and it is into these loops that the hooks at the end of the chains 
are engaged. The frame and glass should stand at the rear of 
the stage, or room, so that the apparatus ^vill be out of the way. 
The candle, extinguished or lighted at the desire of the per- 
former, is not really a candle, but a miniature lamp concealed in 
a metal tube japanned in imitation of the real article. This tube 
is screwed in the candlestick so as to form one continuous piece. 
The lamp arrangement inside is raised or lowered by means of a 
string in the hands of an assistant. The round wick of the lamp 
resembles the wnck of a candle. The lamp is filled with a slow 
burning oil and the wick raised just sufficiently to give a small 
flame. When the spectator fires the pistol at the cards on the 
glass the assistant leleases the string, which allows the flame to 
drop out of sight. By reversing the operation the candle is 
relighted. This is the only part of the apparatus that cannot be 
made by the reader or under his supervision. The plate glass 
will be furnished by any dealer in such supplies, and he will 
drill the holes for the metal loops. The frame work will be made 
by any metal worker at slight expense. The trick, of course, may 
be presented without the obedient candle; but as this feature 
adds more or less comedy to the performance, the small invest- 
ment will not be regretted. 

The three cards that appear on the glass are specially pre- 
pared. Let us assume that these cards are the seven of dia- 
monds, the ten of clubs and the eight of hearts. Each card is 
really of double thickness. That is to say, two cards are glued 
together. Between each double card is laid crosswise two strips 
of flat elastic each seven and a half inches long, or just a trifle 
longer than the width of the three cards, so that between each 
222 



The Art of Magic 

card there is about one-twelfth of an inch space. The construc- 
tion of the cards is shown in Fig. 29. In the illustration the 
space between the cards is made larger than it really is, in order 
to show the position of the elastic. The card glued on the rear of 
the seven of diamonds is face downward — that is to say, its face 
is on the back of the seven. The card on the back of the middle 
card, the ten of clubs, is arranged the same, but the opposite is 



1^ 



'4 ♦ 




Fig, 29 

true of the card glued on the rear of the eight of hearts. In 
other words, these two cards are glued back to back. You now 
have three cards hinged together by two strips of flat elastic. 
A still further preparation of the center card, the ten of clubs, 
is necessary. Take a playing card (any one will do) and cut 
out a rectangular piece two inches long and a half an inch wide. 
Care should be exercised to remove this piece from the center of 




the card. 



Fig. 30 

The card so cut will look like Fig. 



30. 



The card so 
223 



The Art of Magic 

treated is now glued face downward to the back of the middle 
card. The lower part of the card — that is to say, the part below 
the slot, is glued entirely to the card; but the upper part, in 
which the slot is cut is glued around the edges only. Properly 
prepared the back of the middle card has a slot in which you can 
slide the piece of apparatus shown in Fig. 31. This is an ingen- 




V J 

Fig. 31 

ioLis application of what is commonly known as the "sucker." 
The little hollow cone or rubber cup is an inch and one-eighth 
in diameter. The metal apex is brazed to a small piece of thin 
metal two inches long and an inch and one-quarter wide. The 
four corners of this small metal plate are rounded. The 
"sucker" is fastened to the plate about three-quarters of an 
inch from the top, as shown in the illustration. This apparatus 
slips readily into the slot arrangement on the hinder part of the 
three prepared cards. With the sucker in place fold the seven 
of diamonds onto the face of the ten of clubs and then fold the 
eight of hearts onto the front, when the reason for gluing the 
third double card back to back will be apparent, for the front 
of the folded cards will be a face card. Before folding the 
hinged cards, however, another piece of apparatus is necessary. 
This is illustrated in Fig. 32. It consists simply of a thin 




Fig. 32 

rubber band, three inches long at the ends of which are two 
224 



The Art of Magic 



small hooks. These hooks are made of ordinary pins. File the 
head off a pin and with a pair of pincers bend the pin in the 
shape of Fig. 33, which is much larger than the hook actually is. 



Before folding the cards engage one hook in the upper part of 
the outer side of the eight of hearts, see A in Fig. 29. The elas- 
tic is now stretched across the rear of the three cards and the 
other hook engaged at the- outer edge of the seven of diamonds, 
see B in the same illustration. Now fold the seven of diamonds 
on middle card, and then the eight of hearts. The tension of the 
elastic will be so strong that you cannot release the grip of the 
fingers. On top of the packet of folded cards place an ordinary 
deck, of course, face upward, and over the bottom edge of the 
pack slip a little clip. This clip, see Fig. 34, is made of a strip 



of thin brass a trifle less than an eighth of an inch in width and 
japanned white to match the white space in the front card of 
the pack, which should be an ace — clubs for preference. To this 
clip is attached a long thread that runs to the hand of an assist- 
ant. The lips of the rubber sucker are moistened with glycerine. 

The prepared pack lies on the table behind some convenient 
object, says a handkerchief. The thread runs from the clip 
through a small screw-eye in the floor exactly beneath the 
center of the glass plate, and thence to the assistant. Allowance 
must be made for an adequate amount of slack. On the table is 
the conjurer's pistol and a pack of cards, with the three cards 
to be forced on top. If the student is not certain of his ability 
to force three cards, a forcing pack may be used. In front of 




Fig. 33 




Fig. 34 



225 



The Art of Magic 

^he hanging glass is the table or tabouret on which the candle 
is burning. 

Presentation of Trick — Force three cards (in this caso 
the eight of hearts, the ten of clubs and the seven of diamonds) 
have them replaced and the pack shuffled. Return to the table 
and lay the pack in front of the handkerchief. Pick up the 
pistol and hand it for examination. While the spectators are 
inspecting the weapon, return to the table and pick up the 
prepared pack, at the same time covering the other pack with 
handkerchief. Patter a little about the power of mesmerism, 
and pretend to mesmerize the cards. Press the pack firmly and 
steadily against the plate glass, where it will adhere, taking care 
that the slot in the hinder part of the folding card points down- 
ward, so that when the assistant pulls the clip off the folding 
card will not be moved. Ask for the name of the three selected 
cards, and announce that you will cause them to jump from the 
pack. Request a spectator to fire at the pack. He does so, and 
the candle is extinguished. In reality the assistant releases the 
tension on the string and the flame drops out of sight. Take the 
pistol and fire it yourself, when the candle is relighted. Fire 
again, this time aiming carefully at the plate glass. At the 
report the assistant pulls the thread attached to the clip; the 
clip falls with the loose cards to the floor ; the folding card opens 
and the three chosen cards are revealed in a row on the glass. 
The effect is very pretty and mystif^-^ing. It is the tension of the 
elastic band that causes the opening of the cards, and this same 
tension keeps the cards pressed tightly against the glass. The 
elastic band would not perform this function, however, owing to 
the manner in which the cards are folded, were it not for the 
initial propulsion given by the elastic hinges. 



CHAPTER XII. 



FANCY FLOURISHES WITH COINS, USEFUL SLEIGHTS, 
AND ADDITIONS TO THE MISER'S DREAM. 
The author assumes that the reader is acquainted with the 
conventional sleights and passes applicable to coin tricks, such 
as are described in the standard works on conjuring, and also 
with the method of presenting the coin-catching deception known 
as ''The Miser's Dream," as described by myself, the inventor, 
in ''Modern Coin Manipulation." We cannot do a greater 
service to the reader than open this chapter with a description 
of one of the most illusive coin passes in the whole range of 
coin conjuring. We cannot claim that this pass is original, or 
even new; but it is not generally known to the profession. The 
sleight was a favorite of the late Harry Stork, and it is a spe- 
cialty of an esteemed correspondent, Mr. T. J. Crawford. The 
salient feature of the pass is that the coin is vanished after it 
has been unmistakably placed in the palm of the hand in plain 



^^^^^^^ 



Fig. 35 

view of the spectators ; and if the movements are once acquired 
it is not possible for the keenest observer, at close range, to 
locate the vanished coin. 

227 



The Art of Magic 

The spectators see the coin beyond question placed in the 
palm of the left hand, but the fact that the tips of the first finger 
and thumb of the right hand never release the coin does not 
occur to them. The position in Fig. 35 shows the coin actually 
lying in the palm of the left hand. Now the fingers of the left 
hand begin to close upon the coin, and when they have curved 
just enough to hide the coin from view, the middle, third, and 
little fingers of the right hand extend into the palm under the 
curved fingers of the left hand as in Fig. 36. The right hand 




Fig. 36 

now moves away from the left, while left continues the closing 
process; and the coin, instead of being in the closed left hand, 
is still held between the tips of the first finger and thumb of the 
right hand, and concealed from the view of the audience by the 
three extended fingers. The deception is so complete that there 
is never a doubt but that the coin was actually deposited in the 
left hand, which is now closed ; and while all eyes are focussed 
upon this hand the three extended fingers of the right hand 
place the coin securely in the right palm, and the hand assumes 
a natural position. The left hand is now slowly opened, the 
fingers carefully separated, and the coin is gone. 

In the written description these various positions will seem 
separate and distinct, and difficult to accomplish; but with a 
certain amount of practice, they will very soon blend into a 
single movement; and no easier, simpler, or more deceptive 
method for vanishing a coin can be acquired. 
228 



The Art of Magic 

"One of the features of this pass," writes Mr. Crawford, 
''is that it is not confined to a single coin. The limit depends 
entirely upon the performer's ability. I am able to palm twelve 
half dollars successfully; but half this number is always suffi- 
cient to fill an audience with amazement. The coins, of course, 
are vanished singly, being noiselessly placed in the palm of the 
right hand. After all have been singly vanished — the stack 
being in the palm of the right hand — both hands may be shovm 
absolutely empty by executing the change-over palm. 

The Hilliard Pass — This is an illusive pass and may be 
used to advantage in a series of fancy sleights with coins. The 
performer stands with his right side toAvard the audience, the 
right arm extended so that the hand, the palm, which is turned 
toward the audience, is on a level with the eyes. The fingers 
should be separated, and on the tip of the extended thumb is the 
coin about to be vanished. To accomplish this the fingers of the 
left hand encircle the thumb — the back of the hand toward the 
audience — as if to grasp the coin. The instant the left hand 
masks the thumb the coin is backpalmed between the first and 
second fingers. The left hand closes about the thumb, and is 
then drawn off the digit. The left hand is held closed as if 
containing the coin, and as the inside of the right hand is facing 
the audience the spectators can have no suspicion that the coin 
is not in the closed left hand. In the simple movement of turn- 
ing over the right hand the coin is reversed palmed and pro- 
duced at the performer's pleasure. 

The Wrist Palm — This is an exceedingly mystifying diver- 




Fig. 37 

sion with a coin. The performer places a half dollar in the 

229 



The Art of Magic 

palm of the right hand, see Fig. 37. The hand is held so that the 
palm is parallel with the floor. A spectator is asked to feel 
the coin. The movements are repeated, and when the spectator 
feels again in the performer's palm he is surprised to discover 
that the coin has disappeared. The performer slowly turns his 
hand over, and the coin is revealed in the palm. A glance at 
Fig. 38 discloses the secret. When the conjurer repeats the 




Fig. 38 



movement of putting the coin in the palm he really ''palms" 
the coin on the wrist, as depicted in the illustration. The hand 
may then be held as shown in Fig. 37. In turning the hand over 
the coin is adroitly caught in the palm. At first the student may 
declare that the accomplishment of this sleight is an impossi- 
bility; but in this as well as all other branches of conjuring 
practice will achieve the desired result. For the encouragement 
of the student we may say that this trick is an especial favorite 
of Mr. Downs. 

The Coin Koll— This effective and difficult flourish will be 
appreciated by the reader who makes a specialty of coin man- 
ipulation. In effect a coin rolls or travels around the hand, from 
finger to finger. At the outset the coin is held between the 




Eig. 39 

thumb and the first finger near the base as depicted in Fig. 39. 

230 



The Art of Magic 



The coin is now allowed to fall over the top of the first finger and 
its opposite edge is caught between the first and second fingers at 
their roots. The coin then falls over the second finger and is 
caught between the second and third fingers, as depicted in Fig. 
40. The coin then rolls over the third finger and is caught 



between the third and fourth fingers. The coin is then allowed 
to slide down between the third and fourth fingers until it hangs 
underneath the fingers as depicted in Fig. 41. For the sake of 
clearly illustrating the movement the coin is depicted hanging 



between the third and little fingers. In actual practice, however, 
the tip of the thumb keeps the coin from falling to the floor. 



Fig. 42 

The coin is then carried by the thumb, underneath the hand, see 




Fig. 40 




Fig. 41 




231 



The Art of Magic 

Fig. 42, back to its original position, as depicted in Fig. 39, and 
the rolling movement over the top of the fingers is repeated. At 
first these different movements will be slow and awkward, but 
as the student attains proficiency the coin will roll over the 
fingers rapidly and without a cessation of movement. The man- 
ipulation is beautiful and effective and is well worth the time 
spent in aequiring it. The illustrations depict the fingers of the 
right hand manipulating the coin, but there is no objection to the 
left hand being used if it comes more natural to the student. A 
few performers are skillful enough to execute this fiourish with 
both hands simultaneously, and the two coins rolling in opposite 
directions has an effect that must be seen to be appreciated. 

The Coin Through the Knee — The effect of this sleight 
or flourish is as follows: The performer exhibits a half dollar 
in the fingers of the right hand. Taking the coin in the left hand 
it is passed into the left knee ; thence it passes down the perform- 
er 's leg, and is reproduced from the bottom of the trousers. The 
manipulations are as follows: The coin is held between the 
thumb and second finger of the right hand, in the position for 
' ' le tourniquet " or the ' ' French drop. ' The coin is apparently 
taken into the left hand and the left foot is placed on a chair. 
The right hand throws coin up the left trousers leg, and at the 
same instant the fingers grasp the front of trousers, at the crease, 
and twist the cloth around the leg, so that the coin will not fall 
out. The right hand holds the trousers leg in this manner— 
which exactly resembles the fold of the trousers when wearing a 
bicycle trousers guard. The left hand, all this while, has been 
tightly closed above the left knee. The hand is now brought 
down upon the knee with a resounding slap, the performer 
loosens his grip on the trousers, and the coin falls to the floor. 
Neatly performed this will prove a very effective interlude. 

The Traveling Coin— This is a subtle and mysterious 
method of causing a coin apparently to travel invisibly from the 
right to the left hand. At the outset a coin is concealed in the 
right hand. Two coins are held in the left hand between the 
thumb and second fingers, in exactly the position for the ''French 
drop." The right hand apparently takes one of the coins from 
232 



The Art of Magic 

the left fingers. In reality, however, the undermost coin is 
allowed to drop into the palm, or, better still, to the base of the 
left fingers, and the coin in the right hand is produced at the 
finger tips. The audience sees one coin held in the left hand — 
and one in the right hand. The coin in the right hand is van- 
ished (by any palm the performer elects), and simultaneously the 
coin in the left fingers is allowed to drop upon the concealed coin. 
The audible click of the two coins adds materially to the effect of 
the illusion. 

Down's Latest Method for ^^The Miser's Dream." This 
is an entirely new production of coins at the finger tips, and is one 
of the most puzzling and indetectable features of Mr. Downs 's 
performance of "The Miser's Dream." The hand is shown 
empty, back and front, the fingers wide apart, and yet a dozen or 
more coins are produced, one at a time, or in a fan, at the finger 
tips. 

At the outset a dozen coins are palmed in the edgewise 
manner described by Mr. Downs in his book on coin manipula- 
tion. The hand holding the coins — the right hand — is lowered, 
the stack is dropped to the third joints of the fingers, when it is 
crotched between the thumb and first fingers, as depicted in Fig. 
43. Of course the hand is not held so that the coins are visible. 




Fig.:43 



as depicted in the illustration, which shows the exact method of 
holding the coins. In the actual presentation of the trick, the 
hand is held as in Fig. 44, the palm toward the audience. The 
hand may now be shown back and front and the fingers sepa- 
rated, without any risk of exposing the coins. 

233 



The Art of Magic 

To produce the coins, one at a time, at the finger tips, the 
bottom coin is slipped out by the second finger, see Fig. 45, an<\ 




Fig. 44 



is caught by the tips of the first finger and thumb as depicted in 
Fig. 46. It is then dropped into the hat. This method of pro- 




ducing coins is the most brilliant and bewildering of the many 
subtle moves in the act known as ' ' The Miser 's Dream. ' ' 



234 



CHAPTER XIIL 



COIN TETCKS WITH AND WITHOUT APPARATUS. 

THE SYMPATHETIC COINS. 

This is one of the finest coin tricks in existence, and as an 
impromptu or after dinner trick has no rival. 

First Method — This was one of Yank Hoe 's specialties, and 
we shall describe the trick exactly as he performed it, afterward 
describing an alternative method of our own. 

Effect — A borrowed handkerchief or napkin is spread over 
the table. Four half-dollars are laid on the handkerchief so as 
to form the corners of a square. Two of the coins are covered 
with small squares of paper. The four coins eventually come 
together under one of the papers. 

Time — About two minutes. 

Requisites and Preparation — A handkerchief or napkin; 
four half dollars (they may be borrowed and marked) ; and two 
squares of stiffish paper — the quality of paper used for magazine 
covers is the proper thickness. These squares should measure 
about four inches by four. 









(D 






a 












c 







© 






Fig. 47 



Presentation of Trick — The four coins are placed on the 
handkerchief in the manner shown in Fig. 47. 

235 



The Art of Magic 

A, B, C and D are the four coins. The effect of the trick 
will be enhanced if a handkerchief of dark color is used, as th< 
silver coins show up better by the contrast. The performej 
exhibits the two squares of paper, calling attention to the faof 
that the experiment is more in the nature of an optical illusion 
than a feat of magic. Of course, this is not so ; but it is not wis* 
to inform an audience in advance as to the exact nature of a 
trick. The successive covering of the coins, hereafter described, 
may be accounted for by means of patter based upon the science 
of optics. Standing behind the table and holding a square of 
paper in each hand, revealing the hand otherwise empty, the 
magician covers the coins marked A and B, covering A with the 
paper in the left hand and B with the paper in the right hand, 
Observing that by covering these two coins, the other two coins 
are visible, he quickly shifts papers so as to cover the coins C and 
D, observing at the same time that the two front coins are visible. 
He now covers C and B, calling attention to the fact that A and 
D are visible, and then quickl}^ shifting the papers, covers A and 
D, the paper in left hand covering A and the paper in right hand 
covering D. Now while the left hand holds the paper over A, 
the right hand shifts paper from D to B, and while talking to, 
and looking straight at, the audience (asking them, for instance, 
if they can see the two rear coins) the fingers of the right hand 
(under cover of the paper) pick up coin B. This movement, it 
must be understood, is made without moving the paper, nor 
should there be the slightest visible movement of the right hand. 
The sleight will be facilitated if the right thumb presses down on 
the left edge of coin, which slightly tilts the right edge into the 
finger tips. The eyes of the performer, it is scarcely necessary to 
say, must never for an instant glance at the right hand during 
the picking up movement. Should the performer forget himself 
in this respect the audience will instantly suspect the removal of 
the coin. 

Now comes the crucial move of the trick. It is not a diffi- 
cult move, and, if made properly, the whole operation is covered. 
While the right hand holds coin B under the paper, the left hand 
removes paper from coin A, and holds it squarely in front of the 
236 



The Art of Magic 

right hand. Under cover of this paper, the right hand carries 
paper and coin away, and as the right hand moves away, the 
paper in left hand is allowed to fall on table, where coin B is 
supposed to lie. The right hand moves over to the left side of the 
table, and in the act of covering coin A with paper, the coin in 
right hand is laid on table near A. Of course you must not let 
coin B clink against coin A in this operation. At this stage of 
the experiment, you have two coins under the paper at A, 
although your audience believe that there is one coin under each 
of the papers. It Avill be understood that all these moves arc 
made quickly and to the accompaniment of lively patter. 

Now for the second part of the trick. Grasp the lower left 
hand corner of the handkerchief with the left hand, the fingers 
well underneath and the thumb above. Take the coin C in the 
fingers of the right hand. Hold it up high, so that all may see 
that you actually hold a coin. The left hand lifts up the corner 
of the handkerchief and the right hand carries the coin under 
the handkerchief and apparently pushes it toward the front of 
the table until it is directly under the paper at A. A slight 
upward movement is made with the fingers of the right hand; 
there is an audible clink of two coins coming together; and 
removing his right hand from beneath the handkerchief, and 
showing it unmistakably empty, back and front, the performer 
daintily picks up paper at A, and exhibits the two coins. If 
these movements are made as described, and the clink of the coins 
is audible, the effect to the audience is that the coin really passed 
through the cloth. Of course, it did no such thing. As you 
passed the right hand under the handkerchief, you left the coin 
between the first and second fingers of the left hand. Theri? 
must be no hesitation in the execution of this moTcment. The 
right hand must transfer the coin to the left without pausing 
the fraction of a second, the fingers of the right hand, held as 
though they contained the coin, pushing slowly forward until 
they are under the paper cover at A. Now, if an upward move- 
ment is made with the fingers, one of the coins will be throwTi 
uDon the other, causing the illusive clink. 

237 



The Art of Magic 

The right hand is now withdrawn and lifts the paper cover. 
At the same moment the left hand, holding the coin between the 
first and second fingers, releases the handkerchief and takes the 
paper cover from right hand. The coin is now concealed under 
the paper in the left hand, which replaces the paper cover over 
the two coins, being careful not to allow the coin to clink as it is 
released from the fingers. As there are three coins now under 
the paper at A, the process is repeated with coin D. When the 
the paper in left hand is again placed over the coins at A, there 
are four coins under the cover, although the audience is convinced 
that there are only three. In order to pass the coin B (appar- 
ently) under the paper at A you must vary the procedure. Sim- 
ply bend over and blow briskly under the paper at B. The effect 
is as if you blew the coin from B under the paper at A. Lift 
np this paper and exhibit the assembled coins. 

Second Method — Invariably an encore is demanded when 
this trick is presented, and unlike most sleight-of-hand effects, 
the effect may be repeated before the same audience. As a mat- 
ter of fact, its performance by means of the second method leaves 
the audience more mystified than ever. 

In this method the magician uses five coins instead of four ; 
but of course the audience is unaware of the existence of the 
extra coin. Conceal the fifth coin in left hand, and arrange the 
four coins as before. In laying the papers over A and B you do 
not take away B, as in the first method, but allow the extra coin 
in left hand to join the coin at A. The trick now proceeds as 
before, except after passing the last coin, B, under the handker- 
chief you must get rid of it in some manner. It is easy enough 
to slip the coin into the pocket while lifting up the paper at A, 
because all eyes are attracted to this part of the table. We have 
been at some pains to describe this trick in detail, because it is 
really worth the attention of the most fastidious sleight-of-hand 
artist. It is simple in theory, but the amateur will discover that 
it must be worked with a delicacy of touch and breezy patter, in 
which case the illusion produced is perfect. Don't be misled by 
the apparent simplicity of the trick and present it without the 
requisite amount of practice, or you will regret your temerity. 
238 



Th^ Art of Magic 

THE COIN THROUGH THE HAT. 

Nothing could be simpler than this trick, but it seldom fails 
to produce unbounded astonishment. 

Effect — A coin is placed on the performer 's knee. He 
covers the coin with the crown of a borrowed derby. The coin 
disappears and is found to have passed thrown the crown into 
the hat. 

Time Occupied — A minute. 

Requisites and Preparation — A borrowed coin — any de- 
nomination ; a duplicate coin palmed in right hand ; and a derby 
hat. 

Presentation of Trick — Borrow a derby and secretly insert 
palmed coin in rim. You are now able to show freely the inside 
of the hat and the hands back and front. In the act of sit- 
ting down the performer introduces the coin into the hat. He 




Fig. 48 

requests a spectator to place a coin on his knee, as illustrated in 
Fig. 48. He covers the coin with the hat for an instant, takes 
the hat away, and shows that the coin has vanished. He then 
produces the coin from the hat. As a matter of fact, the coin 
merely slid into a fold made in the knee of the trousers. The 




Fig 49 

illustration, Fig. 49, shows the kind of fold required. 

239 



The Art of Magic 

THE EXPANSION OF TEXTURE. 

This is a marvelously effective coin trick and calls for clever- 
ness of manipulation and neatness of address. It is the invention 
of Jose Antenor de Gayo, Marquis de Orighuela, who is famous 
on the Continent as ''L 'Homme Masque," the "Masked Man," 
and of whom we have had occasion to speak before in this vol- 
ume. He is the inventor of many subtle and bewildering tricks 
with coins, cards and other small objects, and "The Expansion 
of Texture" is his faA^orite experiment as well as his master- 
piece. It is suitable for presentation anywhere — in the drawing 
room or on the stage. 

Effect — Two marked half dollars and a handkerchief are 
borrowed from the audience. One of the coins is placed in the 
performer's pocket: the other is wrapped in the handkerchief 
b}^ the spectator who volunteers to act as the conjurer's assist- 
ant. The handkerchief never leaves the assistant's hands; but 
nevertheless the coin is passed from the conjurer's pocket into 
the handkerchief, and eventually both coins are magically re- 
moved from the handkerchief. 

Time Occupied — About five minutes. 

Requisites and Preparation — Two half dollars and a hand- 
kerchief, all of which are borrowed from the audience. No du- 
plicate coins are used. 

Presentation of Trick — The conjurer borrows a handker- 
chief — as large a one as possible — and two half dollars — After 
the coins have been marked he hands the handkerchief and one 
of the half dollars to the volunteer assistant, the conjurer hold- 
ing the other half dollar in his uplifted right hand, so that every 
one can see it. 

When you are both standing on the stage, turn your face 
squarely to the audience, the assistant standing a little to your 
left. Show him the half dollar piece in your hand and ask him 
to remember the mark. Then remark: "I am going to put this 
piece in my pocket for a little while." Suiting the action to the 
words, thrust the hand containing the coin into the trousers 
pocket. The coin is not left in the pocket, however, but is palmed 
240 



The Art of Magic 

and the hand withdrawn. In order to hide the coin, pick up 
your wand, which should lie on a table or chair near by. From 
now on this stick will assist you in concealing the essential 
manipulations. 

Wand in hand, advance toward the assistant and address 
him as follows: ''Now, sir, with your own hands cover the coin 
with the handkerchief, so that the money will lie about in the 
center. Observe, please, ladies and gentlemen, that I have noth- 
ing to do with the operation. Now hold the covered coin be- 
tween the thumb and finger tips of the right hand." The four 
ends of the handkerchief hang down, and you request the assist- 
ant to hold the ends together in his left hand, in order that 
there can be no deception or trickery on your part. When he 
has the four ends in his left hand, command him to let go with 
the right. When he has done so you remark: ''As you see, we 
have a little pocket in which there is imprisoned a marked half 
dollar." While saying this strike the imprisoned coin with 
the wand, so that every one can hear the sound. Continue: 
"In order to be more secure, also hold the four ends with the 
other hand (the right hand, which is free)." When the assist- 
ant does this you strike the coin once more with the wand and 
take hold of it with the left hand, the thumb turned upwards. 
The wand is placed under the left arm. Push the coin towards 
the hand of the assistant, at the same time bringing the coin 
palmed in the right hand under the handkerchief in the exact 
position that the imprisoned coin occupied. This coin is now 
held by the fingers of left hand and the assistant and spectators 
will not dream but that it is the same one that was put in the 
handkerchief by the volunteer assistant. Strike the coin with 
the wand and call attention to the impossibility of any one 
tampering with the money while the representative of the 
audience holds the ends of the handkerchief in such a tight grip. 
Replace the wand under the left arm, and seize with the right 
hand the coin that is actually inside the handkerchief, and ask 
the assistant to grasp with the left hand the coin that is appar- 
ently in the handkerchief but w^hich in reality is concealed by a 

241 



The Art of Magic 

fold, directing him to hold it with the thumb on top and the 
fingers underneath. 

You now address the assistant something as follows: "Well, 
sir, you are certain you have possession of the coin, are you 
not? Very good. You haven 't had your hands off this handker- 
chief during the experiment, have you? I advise you to hold 
tight, however, for you can mever tell what advantage i will 
take of you if you relax your vigilance even for an instant." 
Pass the right hand under the handkerchief, the palm upwards, 
and request the assistant to open his right hand so as to show 
the audience the interior of the handkerchief. As you help to 
open the handkerchief at the ends, throwing the ends over the 
assistant's hands, the first half dollar (the one the assistant 
wrapped in the handkerchief) drops into your hand and is 
palmed. The instant this is accomplished, take the wand in the 
right hand and strike the coin the assistant is holding, and then 
show very distinctly, one aft(>r the other, the four ends of the 
handkerchief. Neither the assistant nor anybody else will sus- 
pect, at this stage of the trick, that there has been any hanky- 
panky work. This demonstration over, allow the four ends of 
the handkerchief to hang down again, atid request the assistant 
to assume his first position — that is to say. he holds the coin in 
the right hand and the four ends of the handkerchief in the left 
hand. You now take hold of the coin with your left hand, 
allowing the assistant to hold the ends of the handkerchief with 
both hands. 

You are now master of the situation. The half dollar origin- 
ally wrapped in the handkerchief is palmed in your right hand, 
and the coin apparently put in your pocket is on the outside of 
the handkerchief concealed by a single fold of the cloth. You 
strike this coin again with the wand and say: "Well, this is 
what I intend to do. T shall not only try to get this dollar out 
of the handkerchief, but I shall first command the coin which I 
put in my pocket (pointing to pocket with wand^ to leave the 
pocket and join the coin inside the handkerchief. ' ' You replace 
the wand under the left arm, thus bringing the right hand to- 
ward the left, wdiich is holding the coin in the fold of the hand- 
242 



The Art of Magic 

kerchief. The palmed half dollar is now joined to this coin 
under the handkerchief. This delicate move is accomplished as 
follows : The coin nnder the handkerchief must lie on the three 
fingers viz., the middle finger, the ring finger and the little 
finger. The first finger bends a little backward and leans on 
the edge of the first coin. One edge of the second coin touches 
the first coin, and the opposite edge is held by the first finger. 
The two coins, of course, are covered by the handkerchief. The 
thumb, which is on top of all, holds everything securely. 

You now pretend to remove the coin through the pocket. 
Apparently holding it in the closed right hand say: ''One, two, 
three, pass!" at the same time draw away the first finger of the 
left hand and press with the thumb against the other fingers, 
and b}^ this manouver the two coins will come together with a 
loud click. The exact position of the fingers in executing this 
move is rather difficult to describe; but if the explanation is 
actually followed with coins and handkerchief, the reader ^^411 
soon get the idea, which produces a complete illusion. Imme- 
diately the two coins come together — being careful to hold the 
handkerchief so that the pieces of silver cannot fall out — ^you 
enlarge the folds on top and shake the handkerchief so that 
everybody may hear the jingle of the two pieces. 

Having effected this surprising result, you further address 
the audience: "Ladies and gentlemen, having passed one coin 
into the handkerchief, I shall attempt a still more difficult feat, 
I shall remove the two coins, one at a time, and you mil observe 
with what delicacy the handkerchief will close its textures after 
the pieces have passed." You draw the first piece through the 
handkerchief fold, and hand it to the assistant to verify the 
mark. Then draw out the second piece, and also offer it for 
identification. Now, in order that nobody may get any clue to 
the modus operandi, open the folds* of the handkerchief with 
both hands — ^under the excuse of wanting to restore the texture 
— so that the handkerchief forms an empty bag. This done, you 
beg the gentleman who was so kind to assist you to open the 
handkerchief and examine the texture. 

243 



The Art of Magic 

This experiment produces a wonderful effect, but the stu- 
dent must not attempt to produce it in public until he has mas- 
tered every detail and clothed every move in appropriate patter. 
Cleverly done, and with the proper address, there is not a coin 
trick that can surpass it. We have described the trick exactly 
as it is performed by its accomplished inventor ; but, of course, 
it is susceptible to variation, and the student is advised to alter 
the trick to conform to his own personality, arrange his own 
patter, and compose a little plot to give verisimilitude to the 
experiment. 

While on the subject of coins mysteriously passing through 
the meshes of a handkerchief, we may acquaint the reader 
with a particularly neat and effective method of apparently 
causing three or four coins to disappear. Spread a handkerchief 
over the palm of the left hand. Apparently place a coin in the 
center of the handkerchief, but really palming it in the right 
hand, the left hand closing as if it really contained the coin. 
Pick up second coin and apparently drop it into the handker- 
chief, but in reality allow the palmed coin to drop upon the coin 
on the fingers, after which you repalni the two coins. If this 
sleight is properly executed the spectators will be convinced that 
the two coiDs are in the handkerchief in the closed left hand. 
Repeat the operation with a third and even a fourth coin. Then 
turn the left hand over, grasp the handkerchief with the hand in 
which the coins are palmed, shake handkerchief, allowing the 
coins in the hand to rattle. The coins are then vanished from 
the handkerchief and produced at the pleasure of the performer. 

THE BEWITCHED NICKEL. 

This is the fanciful title of a clever impromptu trick. The 
effect is as follows : The performer borroAvs a nickel and places 
it in the palm of the spectator's hand. The hand is then closed, 
and upon being opened the nickel is discovered to have changed 
to a penny. 

The only requisites for this trick are a nickel, a penny, a 
nerve and audacity. When the performer borrows the nickel he 
has the penny palmed in his right hand, A spectator is asked to 
244 



The Art of Magic 

hold out his right hand, palm upward. The performer places 
the nickel on the upturned palm. ''Now, sir," says the con- 
jurer, ''I want to see how quickly you can close your hand. 
Ready, one, two, three!" At each count he lightly taps the 
spectator's palm with the finger tips of the right hand. At 
''three" the spectator closes his hand. "Oh, dear, not half 
quick enough," complains the conjurer. "Let us try again." 
This time the counting is a trifle more rapid. As the performer 
is about to say "three," he drops the penny from the right hand 
into the spectator's hand, as near to the root of the second and 
third fingers as possible, while at the word ' ' three ' ' the finger tips 
of the right hand tap the spectator's palm, which causes the 
nickel to fly into the conjurer's hand, where it is palmed. This 
time the spectator closes his hand very quickly, and the exchange 
of coins is not noted. He is accordingly very much surprised, 
upon opening his hand, to discover that he holds a penny instead 
of the nickel. This trick is simple in design, but demands neat 
execution, and the student will find that a good deal of practice 
is demanded before he is certain of executing the change in 
the desired manner. The main point to observe is that the penny 
in the performer's palm must be dropped a fraction of a second 
before the nickel is removed. It will be remembered that each 
time the conjurer counts he taps the spectator's palm. The 
exact time to drop the penny is the instant the hand is raised 
after striking the spectator's palm on the beat of "two." This 
trick is not new; but, so far as we are aware, this is the first 
time an explanation of it has appeared in print. 

THE DISAPPEARING DOLLARS. 

The effect of this trick is as follows : Four dollars, dropped 
by the audience into a small china vase, mysteriously disappear. 
The vase is about eight or ten inches high, and has an opening 
large enough for a dollar piece to drop through, but too small 
to allow the hand to be inserted. 

The conjurer asks four gentlemen each to drop a coin into 
the vase, which he holds at the upper end. Then he shakes the 

245 



The Art o£ Magic 

vase several times so that everybody can hear the coins rattle. 
''One, two, three." At the word "three" the coins disappear, 
and the vase is handed for examination. 

The secret consists of a little black cloth bag, the opening 
of which is attached to a small wire ring. To this bag is fast- 
ened a black thread about 25 inches long. The other end of the 
thread is attached to the coat under the right arm. In the be- 
o-inning this bag is concealed in the right palm — the hand that 
holds the vase. Invite several persons to try to put their hands 
into the vase. And in showing them that you cannot get your 
own hand through the opening drop the little bag into the vase, 
allowing it to slide to the bottom. The working of the trick 
will now be clear. The four dollars really fall into the bag. 
After shaking the vase several times, holding it at the upper 
part, extend the right arm. The thread becomes taut and pulls 
the bag of coins into the right hand. The bag is concealed in 
the hand and the vase handed out for examination. The coins 
may be reproduced at the option of the performer. 

THE FREE AND UNLIMITED COINAGE OF SILVER. 
This is the nonpareil of after-dinner tricks and smartly 
worked has a bewildering effect. Mr. Downs saw it performed 
by an itinerant conjurer in a Viennese cafe, and was so charmed 
that he purchased the secret, which is now given to the profes- 
sion. 

Effect — A half dollar is exhibited in the performer's hand 
A spectator is asked to select one of the objects on a dinner 
table= The coin disappears and is found under the object 
selected. A number of objects on the table are lifted in turn, 
and under each one a coin is found. 

TiiyiE Occupied — From three to six minutes. 

Requisites and Preparation — Four half dollars, three of 
which are palmed in the right hand at the beginning of the 
experiment. 

Presentation of Trick — The conjurer calls attention to 
three objects on the table, say a napkin, a salt cellar and a cruet. 
In handling the objects he slips a coin under each, a la the cups 
246 



The Art of Magic 

and balls. One of the three objects is selected, and the per- 
former, holding a half dollar in the right hand, apparently 
takes it in the left hand, and, holding this hand above the 
article, commands the coin to pass under it. The left hand is 
shown empty, and the performer lifts up the article with 
the right hand, revealing the coin. He takes this coin in the left 
hand and in replacing the article the coin in the right hand 
is introduced underneath. In the same manner coins are found 
under the other two articles, and as there is always one coin 
palmed in the right hand the performer, by the mere act of 
lifting up any article on the table, for the ostensible purpose of 
showing that there is nothing under it, can introduce a coin 
under it by the mere act of replacing the article. The produc- 
tion of coins under six or seven articles will be sufficient. 

COIN, GLASS AND CONE. 

An admirable impromptu trick especially adapted to 
presentation at the dinner table. The effect is not new, but 
the author has added sundry original ideas that practically 
make a new trick out of an old one. 

Effect — The performer shows an ordinary drinking glass 
— small size preferred. A piece of newspaper is compressed 
around the glass so as to form a cover. The performer borrows a 
half dollar or he may use a coin of his own. The coin is dropped 
on the table and covered with the glass. The glass is then cov- 
ered with the papershape, and on top of this the performer 
places a plate. The plate is distinctly heard to click against the 
glass and the sound naturally convinces the spectators that the 
glass is still under the paper. The performer eventually re- 
moves the plate and strikes the paper shape a heavy blow. The 
paper is crushed to the table, and the glass has disappeared, 
to be reproduced elsewhere. 

Time Occupied — Two or three minutes. 

Requisites and Preparation — A glass, a half dollar and a 
half sheet of newspaper. This newspaper is really double, and 
in the center, between the two sheets, is waxed the half dollar — 
an imitation coin will serve the purpose just as well as a genuine 

247 



The Art of Magic 

half dollar. When this paper is pressed over the glass, the coin 
is naturally on top. The reason for this will be explained later. 

Presentation of Trick — Borrow a half dollar. Place it 
on the table, in front of where you are sitting, and then cover the 
coin with the glass, mouth down. Cover the glass with the news- 
paper which you press on all sides so that the shape fits snugly 
over the glass. Lift glass and cover and call attention to the 
coin, which, you say, will be made to disappear and fly invisibly 
into a spectator's pocket. As you carefully replace the covered 
glass with the right hand, make a feint with the left, to give the 
impression that you have removed the coin. The spectators will 
immediately inform you that the coin is no longer under the 
glass. Feign embarrassment, and after a little acting, calcu- 
lated to work the audience up to a pitch of excitement, raise 
the covered glass. The coin, of course, is still on the table, and 
all eyes are focused upon it. Taking advantage of this, the 
performer, holding the covered glass near the edge of the table, 
allows the glass to drop into his lap. He immediately places the 
paper shape over the coin, the audience, of course, entertaining 
no suspicion that the glass is not inside the paper cover. In 
order to make doubly sure on this point, we originated the little 
artifice of the coin waxed between the double sheet of paper. If 
this cover is made as described, the coin will be in the top of the 
shape. In placing the plate on the shape, a loud click will be 
made, and it is this sound that convinces the audience that the 
glass is under the cover. Consequently they are genuinely 
startled when the performer raises the plate and deliberately 
strikes the supposed tumbler a blow with his fist. The paper is 
crushed to the table, and the glass, which the audience expect to 
see splintered into a thousand pieces, has vanished. The per^ 
former may reproduce the glass from under the table, or from 
a pocket of a spectator, or from his own pocket. The most ef- 
fective way, however, is to allow the glass to drop to the floor. 
If this movement is perfectly timed, the effect is that the glass 
is actually driven through the table. If this method is adopted, 
248 



The Art of Magic 

the glass should be allowed to slide down the performer's legs 
before dropping it to the floor, so that there will be no danger 
of the glass being broken. 

Another method of concluding the trick is by utilizing a 
very useful contrivance known as the ''bag servante. " This is 
a black bag, or cotton net, the opening of which is sewn to a 
strong wire ring about five inches in diameter. To this wire are 
fastened two stout black elastics, the other ends of which are 
sewn to the back of the performer's vest. When about to per- 
form the trick the conjurer secretly pulls down the net and 
drawns it through between his legs, preventing it from slipping 
back by holding it with his knees. The glass is dropped into 
this bag. and as the performer rises from his chair the bag and 
glass are drawn up behind his back under cover of the coat. 
This apparatus is very useful in many table tricks, where fruit, 
or tumblers, or any reasonably small objects are to be vanished. 
It is particularly effective in this trick, as the performer is en- 
abled to rise from the chair before striking the blow, which action 
negatives any suspicion that he may have the glass in his lap 
or under the table. The performer can place his hand under his 
coat and apparently reproduce the glass from his pocket. Some 
performers palm the glass and reproduce it from a spectator's 
pocket. The borrowed coin remains under the crushed paper, 
and as it is not vanished, it can be returned to the owner, the 
performer explaining that he struck such a heavy blow that 
the glass vanished instead of the money. The crushed paper 
shape is crumpled together and twisted until the coin breaks 
through. The coin is palmed and the paper ball tossed carelessly 
on the table, 

THE TEAINED HALF DOLLAR. 

This is a rather novel adaptation of one of the oldest of coin 
tricks, yclept the "Animated Coin." The performer uses a 
folded newspaper, see Fig. 50, which is prepared as follows: 
Underneath the lower part (a) you glue a little pocket (b), 
also made of newspaper. This pocket should be large enough to 
hold a half dollar. The pocket opens to the right. In the pocket 

249 



The Art of Magic 

place a half dollar (c), to which is attached black silk thread (d), 
the other end of which is held by an assistant behind the scenes. 




Fig 50 

Or, if no assistant be employed, the thread may be attached lo 
the back of a chair standing near the table. 

On the table stands a large glass. On the table near the 
glass is the prepared newspaper with a coin in the pocket. In 
presenting the trick, first draw attention to the glass, rattling 
the wand inside to prove that it is unprepared. Then exhibit 
the paper on both sides, turning it quickly so that the pocket 
will not be noticed. Now lay the paper over the glass, so that 
the pocket is directly over the opening of the glass. In order 
to make all secure you place a book over the paper. 

The performer borrows a half dollar, has it marked, and 
apparently throws it at the glass. At the same moment, assist- 
ant pulls the thread, and the coin falls into the glass. As the 
audience both see and hear the coin fall, the effect is all that can 
be desired. 

The coin now begins to dance in the glass, a la ''Animated 
Coin," or it answers questions. In order that the thread may 
move freely, the performer pushes the book a little to the left. 
The assistant then manipulates the coin as the performer may 
dictate. 

To conclude the trick, performer seizes the paper with his 
left hand, and with the fingers of the right hand clutches the 
rim of the glass. At the same moment the assistant pulls on the 
thread and the coin rises into the performer's fingers. The coin 
is now exchanged for the borrowed and marked coin, which is 
duly returned to its owner. 
250 



The Art of Magic 

THE NEW FLYING COIN. 

An effective impromptu trick, in which a half dollar passes 
invisibly into a handkerchief in a glass which is held by a spec- 
tator. On the performer 's table is a half dollar and an ordinary 
glass tumbler. He has a duplicate half dollar palmed in right 
hand. Borrowing a handkerchief he shows it on both sides, 
taking care not to expose the palmed coin, and while carelessly 
rolling the silk into a small baU introduces the coin. The hand- 
kerchief is dropped into the glass and a spectator requested to 
hold the same. Picking up the half dollar the performer causes 
it to vanish by means of any of the numerous passes. Ask a 
person holding a glass to pull the handkerchief out slowly, and 
the half dollar will make its appearance. 

THE COIN THROUGH THE HAT. 
This is more in the nature of an interlude than a trick, but 
may be introduced to advantage during an experiment in which 
a silk hat is an accessory. Prepare a thin coin by gluing to one 
side of it a piece of black silk, such as is found on silk hats. 
When this is thoroughly dry, clip away the superfluous silk 
almost flush with the edge of the coin, leaving just enough mar- 
gin to press down over the edge to conceal the rim. Now if this 
prepared coin be placed on the top of a silk hat it will be invisible 
at a short distance, as the black matches the silk of the hat. 
Take up an unprepared coin in the right hand and pretend to 
snap it through the top of the hat from the inside. This is 
done by snapping the finger against the inside crown of the hat 
directly under the prepared coin. This will ''flip" the coin into 
the nir and cause it to turn over, showing the unprepared side. 
It is understood that the hat is held in one hand with its mouth 
turned straight down. In removing the prepared coin from the 
hat, exchange it for the unprepared one, which is still in the 
right hand. 

THE TRANSMUTATION OF METAL. 
This is a very old trick — at least the principle is ancient — 
but the following method of performing it is new. In its modern 

251 



The Art of Magic 

guise the trick is a favorite with such well-known performers 
as Mr. Leipzig and Nelson Downs. 

Effect— Six copper coins (English halfpence) are stacked 
on the back of a spectator's hand. The coins are covered with a 
small paper cone. The cone is removed and the six copper 
coins have changed mysteriously into a like number of silver 
dimes. 

Time Occupied— About two minutes. 

Requisites and Preparation — The principal apparatus 
consists of a half dozen halfpence fastened together by a rivet 
running through the whole thickness of the pile. The centers of 
five of the coins are drilled out to within about an eighth of an 
inch from their edges, leaving a mere rim of metal. The top 
penny is intact. When this prepared stack is placed on a table 
or on the hand, with the complete coin upwards, it has all the 
appearance of a pile of ordinary halfpence, the slight lateral 
play allowed by the rivet aiding the illusion. Some manufac- 
turers use two rivets in joining the coins, but as this arrange- 
ment does not admit of the lateral movement, we advise the 
reader to use the kind we have described. The cut out portion 
of the stack should be large enough to conceal six dimes. You 
must also have a paper cone to fit over the prepared stack and 
six unprepared halfpence. The paper cone is two inches and a 
half long and one inch wide at the base. In order not to have to 
make a new cone every time you present the trick, instruct a 
wood worker to turn out a solid wooden cone of the exact size 
required, and keep the paper cone on this wooden shape. Thus 
you can always carry the cone and pence in your pocket, pre- 
pared to present the trick at any moment. 

The actual preparation of the trick is as follows : The paper 
cone on the wooden shape is in the right coat pocket, and the 
prepared stack of halfpence, with the six dimes inside, are either 
in the vest pocket on the left side or in the left trousers pocket. 

Presentation of Trick — ^Tou begin by drawing attention to 
the six unprepared halfpence, and while the spectators are in- 
specting the coins you take the opportunity to get the prepared 
252 



The Art of Magic 

stack in the left hand, where it is concealed between the first 
and third phalanges of the second and third fingers. Taking the 
unprepared coins in the right hand you pretend (Pass 6, ''Mod- 
ern Magic," Page 151, or the Downs Click Pass. ''Modern Coin 
Manipulation," page 73, are the best for the purpose) to transfer 
them to the left hand. The fingers of the left hand make a move- 
ment as if reducing the coins to nothingness, while the right 
hand goes into the right coat pocket, leaves the coins there, and 
brings out the paper tube. At this point you pretend to over- 
hear some one saying that the coins are not in the left hand. 
"What's that, sir?" you ask. "Not in my left hand? Oh, 
really now, I wouldn 't deceive you in such a bold manner. Yes, 
they are really there," You open the hand, and exhibit the 
stack of coins, and owing to the lateral play allowed by the rivet, 
the stack exactly resembles the pile of separate coins. Continue : 
"Since you are so suspicious, I will perform the trick in a dif- 
ferent manner. I will let you hold the coins yourselves." Re- 
quest a spectator to hold out his hand, palm downward. Stack- 
ing the prepared coins with the right hand you place them care- 
fully in the volunteer assistant's hand, guarding against a pre- 
mature appearance of the ten-cent pieces. Now place the paper 
cover over the coins. Saying, "One, two, three! Pass!" you 
remove the cover, squeezing with the fingers and thumb so as 
to lift up the hollow pile with it, disclosing the dimes. The 
paper cap is jerked carelessly forward in the direction of the 
audience, or sim.ply dropped to the floor, the prepared coins 
falling into the curved fingers of the right hand; and while 
everyone's attention is concentrated on the dimes, the stack is 
dropped into a convenient pocket. Presented in this manner, 
the ancient trick of the cap and pence is worthy of the atten- 
tion of the most fastidious performer. 

SUBTRACTION OF MONEY. 

This idea may be used to advantage in the well-known trick 
entitled "The Multiplication of Money," After the coins have 
passed into the hands of a spectator, he is requested to count 
them openly and carefully into your right hand. After he has 

253 



The Art of Magic 

done this you pour them back into his hand, showing your own 
empty. You then request him to close his hand and hold it 
"high up." Stepping back a few paces you command one of 
the coins to leave his hand and fly to you, immediately showing 
a coin at right finger tips. The spectator counts his coins and 
finds them one short. 

This clever trick, one of Mr. Hardin's novelties, is based 
upon the backhand palm. While the spectator is counting the 
coins into your outstretched right hand you secretly push one 
coin down with the thumb between the second and third fingers, 
backpalming it by the edge. You apparently pour all the coins 
back into the assistant's hand. However, you have one of the 
coins backpalmed, and this is the one produced at the finger 
tips in the manner described. 

EVERY MAN HIS OWN MINT. 

This effective trick is also essentially an impromptu feat. 
You roll up your sleeves and exhibit a half-dollar on the extended 
left hand. You offer your right hand for examination to prove 
that you have absolutely nothing in it. Now you pick up with 
the right hand the coin which is in your left, immediately clos- 
ing the left. Next, you put the coin in your outside coat pocket. 
Then you open the left hand and another coin appears on the 
palm as if by magic. You take this coin also with the right hand 
and put it in the pocket, again closing the left hand. Upon 
opening it another coin appears. You repeat this many times. 
Finally you ask some one to take the coins from the pocket, but 
upon examination the pocket is found to be quite empty. 

This trick demands more or less skill. When you come 
forward the left hand is open, holding the coin on the palm. 
Between the second and third fingers of the same hand is an- 
other coin backpalmed by the edge. After the right hand has 
been examined, you pick up the coin from the left and hold it up 
a moment in the right as if to exhibit it more fully. Then you 
place it back again. In doing this you carry off in the right 
hand the second coin from the back of the left hand, and palm 
it. Now you pick up the first coin again, but in the act of doing 
2 54 



The Art of Magic 

so you drop the palmed coin into the left hand, at once closing 
it. The right hand openly puts the coin into the right outside 
coat pocket, immediately palming it, and bringing out the hand 
apparently empty. Now upon opening the left hand the other 
coin is discovered. You keep on repeating these movements 
many times, finally taking the coin from left hand without leav- 
ing the palmed right-hand coin. You pretend to put this coin 
into the pocket, really palming it in addition to the one you 
already have concealed in the right hand; and bringing out the 
hand you invite anyone to take the coins from the pocket. Of 
course they find it empty. 

NEW COIN CATCHING. 

Attach a coin to a piece of fine black silk thread, the free 
end of which tie to your lowest vest button. Produce the coin at 
the finger tips and drop it into a metal tumbler held in the left 
hand. Show your right hand unmistakably empty and pass it 
quickly over the tumbler so that the thread comes between the 
forefinger and the thumb and the coin rises to your palm ready 
for the next production. The movement must be executed with 
lightning-like rapidity, and the thread must be sufficiently 
strong. 

A NEW COIN COMBINATION. 

This effective coin trick is contributed by a valued corres- 
pondent, Yogi B. Girindrashekhar, of Calcutta, India, a Hindu 
magician of originality and skill, who performs modern tricks 
with coins and cards and kindred objects instead of causing as- 
sistants to vanish into thin air or commanding mango trees to 
shoot up into ambient space. ''In connection with this trick," 
writes the Yogi, "let me describe an entirely original method of 
substituting a coin or coins. The coin to be substituted is placed 
in the palm, of the left hand, near the root of the middle finger, 
in full view of the audience. The other coin is held in the right 
hand, palmed in the ordinary way. After making any suitable 
remark, pass the right hand over the coin. As the palms cross 
each other, drop the substitute in the palm of the left hand and 

255 



The Art of Magic 

in its place carry away the original coin. The effect to the eyes 
of the audience is that you have simply passed your hand over 
the coin. Indeed, this change is so much illusive that I have used 
it with great success in carrying out a number of successive 
changes, from a pice to a rupee, then to an ivory ball, and so on, 
the last change being from a porcelain cat to a live mouse, the 
articles named being palmed and pocketed during the time the 
attention of the audience is engaged in the change that has just 
been accomplished." 

Now for the trick, which is a novel adaptation of an old 
coin effect that in its day was a decided favorite. The performer 
borrows a number of coins (from fifteen to twenty) in a hat, the 
mouth of which is covered with a handkerchief. A gentleman is 
asked to take out any coin, mark it and return it to the hat, 
which is then well shaken, in order that the coins may be thor- 
oughly mixed up. The performer now dips his hand into the 
hat and takes out a coin, which is not likely to be the chosen one. 
It is placed inside a handkerchief and the gentleman is requested 
to hold the same. Another gentleman is now asked to remove 
the marked coin from the hat, and after he has done so the per- 
former places the coin in the palm of the left hand and com- 
mands it to change place with the unmarked coin inside the 
handkerchief. The command is instantly obeyed. 

The secret is simple. After the coin has been taken from the 
hat and marked, the magician requests the spectator to hold it as 
tightly as possible, in order that ^ ' the radio-active principle may 
not escape," but in reality that it may become heated to the body 
temperature. When the coin is returned to the hat the performer 
rapidly locates it by the sense of touch, as it remains considerably 
warmer than the other coins. The magician, w^hile mixing the 
coins, palms the heated one, and at the same time produces an 
unmarked coin, which, however, he changes for the marked coin 
while placing it inside the handkerchief. The marked coin which 
the other gentleman removes from the hat was secretly dropped 
in by the performer. The conclusion of the trick will not re- 
quire any explanation. 
256 



The Art of Magic 

THE DOWNS COIN WAND. 

This is a wand of polished brass tubing, one-quarter inch in 
diameter, and about eighteen inches long — some performers may 
prefer a wand either shorter or longer than the size given, but 
eighteen inches is the most practical size for the drawing-room. 
On the stage Mr. Downs uses a wand almost thirty inches long. 
A glance at Fig. 51 will give a general idea of the appearance 




3 



Fig. 51 



of the wand. A is the brass tubing, one end of which is threaded 
to receive a small knob, C, which gives a finished appearance to 
the apparatus. The other end of the tube is split in four places, 
D, each slit about three-quarters of an inch long. These four 
pieces are bent in so as to form a spring clip, which prevents 

257 



The Art of Magic 

coins, cards, or other articles coming off until the performer 
wishes. The articles to be produced are prepared by putting in 
a pin, E, of smaller, gauge than the slot in the wand, about one- 
quarter of an inch long and with a head larger than the slot. A 
coin prepared with pin is shown in Fig. 52. The articles to be 

produced are put on the knob end of the wand, at C, after which 
the knob is screwed on. In the case of coins, a number can be 
loaded on before the performer introduces the wand to the audi- 
ence. To produce a coin (or any other article) at tip of wand, 
lower the end D, at the same time releasing the coin from the 
hand that holds the knob end of the wand, thus causing it to 
slide down, the pin traveling freely in the slot, until it is clutched 
by the spring D, which now allows the wand to be raised at any 
angle with the coin attached. The movement of the coin down 
the wand is quite invisible, especially if, after the coin is released 
from the right hand, the wand is raised with a quick upward 
jerk, the effect being that a coin is actually plucked out of the 
air by the tip of the wand. If the performer wishes, the knob 
C may be removed and the wand used as follows: After show- 
ing both hands empty, the performer procures by the ordinary 
means known to conjurers (from back or front palm, vest, 
pochettes, etc.), his load, and while drawing the attention of 
the audience to the ''unpreparedness" of the wand (the slot B 
being invisible at a short distance), the prepared article is slip- 
ped upon the wand at the open end, which is covered by the 
performer's palm. Billiard balls, imitation eggs, oranges, 
lemons or other small articles, if prepared with pins as described, 
may be produced at the tip of the wand; but the most appro- 
priate use for the wand is in the act known as "The Miser's 
Dream" (see Mr. Downs 's "IModern Coin Manipulation"). The 
effect of this act will be enhanced by catching two or three coins 
258 



The Art of Magic 

at the tip of the wand, actually taking them off and tossing them 
into the hat, which, for the time being, is resting crown up on 
the table. We may mention in conclusion that this wand is 
patented in Great Britain, the patent number being 11,901. 

THE NEW COIN WAND. 

This is an adaptation of the Downs coin wand and is a 
decided novelty. It is a solid nickeled wand, very slender, about 
twenty-four inches long, and it may be offered freely for exam- 
ination. Receiving it back, the performer waves it in the air, 
and a half dollar, or other silver coin, appears mysteriously at 
the tip. The coin thus produced is visibly taken off the end and 
dropped into a hat — if the performer is working the money- 
catching trick. 

The wand is innocent of preparation or mechanism, save for 
a slight — almost unnoticeable — bulge at one end. The secret is 
in the coin. Instead of a pin, as in the Downs wand, a small ring 
is soldered to the center of the coin. This ring is just large 
enough to travel freely on the wand. In actual practice the 
wand is worked exactly as with the Downs wand. The coin is 
dropped from the right hand, an upward sweep of the wand 
producing it at the very tip, where the slight bulge prevents the 
coin from flying off the end. This bulge, however, is not pro- 
nounced enough to prevent the performer readily taking the coin 
off. This wand is really a most ingenious piece of apparatus, 
and owing to the fact that it can be rigorously examined is pre- 
ferable to the Downs w^and for parlor use. The latter apparatus 
is more effective on the stage, however, for the reason that the 
pin is soldered near the rim of the coin, which allows it to poise 
at the very tip of the pointed wand, an effect that cannot be 
obtained with the wand just described. 

A NEW COIN SPIDER. 

This spider was invented to enable the performer not only 
to show both back and front of the hand empty, but also to open 
the fingers while the palm is toward the audience. It is un-. 
doubtedly the nearest approach to perfection to which the spider 

259 



The Art of Magic 

idea has been brought. Fig 53 shows the back of the hand with 
the apparatus attached. AA are two very fine wires affixed to the 




Fig. 53 



first and fourth fingers by the fine wire rings B B. The other 
ends of the wire are fastened to another wire encircling the wrist, 
C, with a little catch. D is an ordinary coin holder arranged 
to hold a dozen coins, which is attached to the wires by two 
minute rings. From the position depicted in the first illustra- 
tion, it will be evident that the holder can easily be transferred 
to the front of the hand in the ordinary way, and the back of 
the hand shown to be empty. It will be equally clear that if 
reversed again the palm can be exhibited. If the hand be held 
in a somewhat upright position, the coin holder will slide of its 
own accord along the wires to the point C, thus enabling the 
performer to open his fingers as shown in Fig. 54. When requir- 




Fig. 54 



ing the coins, the fingers are closed and the holder is allowed to 
slide back to the finger tips, from whence they can be produced 
at will. If desired, the wires can be painted flesh color; but this 
is really quite immaterial, as they cannot be seen at a distance 
of a few feet. The holder, of course, must be painted the same? 
color as the hand. 
260 



CHAPTER XIV. 



A COIN ACT AND A COIN LADDER. 

The following description of methods and apparatus, embraces 
nothing particularly new, but rather a combination of several 
good things and improvements upon several heretofore weak 
points of construction and operation. For the material used in 
this chapter the readers are indebted to Mr. Carl Anderson, a 
clever and original magician. 

Effect — A hat is borrowed and placed on the table, opening 
toward the audience. The performer rolls up both sleeves and, 
showing both hands actually empty, picks up the hat, turns out 
the sweat band and proves the hat to be without preparation. 

Holding the hat in the left hand, he reaches into the air and 
catches, one at a time, twenty coins, dropping them into the hat, 
after which he again shows both hands empty, and pours out all 
the coins onto the table. He now picks up one or more coins and 
after several passes, places them back with the other coins on the 
table. 

Picking up the hat with the left hand and holding it under 
the front edge of the table, he tilts the table forward when the 
coins are seen and heard to fall into the hat. 

Standing on his center table or on the floor, is a coin easel 
as shown in Fig. 55. In appearance this easel consists of a black 
stick with two rows of brass-headed tacks driven part way in; 
supporting it on each side are legs of brass tubing, and at the 
back is a third leg. The top is a circular piece of board from 
which depends a heavy gold fringe. 

261 



The Art of Magic 



Placing the hat containing the coins upon the lower end 
of the black stick, the performer steps away from the coin easel, 
and, clapping his hands, commands the coins to leave the hat, 



which they do, travelling tick-tack, tick-tack downward between 
the brass tacks and into the glass. After a dozen or so coins 
have fallen into the glass, the performer again claps his hands, 
calling the coins to "hurry up." They immediately respond and 
travel down the easel at an accelerated speed. 





J 




Fig. 55 



262 



I 



The Art of Magic 

When the last coin has fallen into the glass, the performer 
picks up the hat, turns it over, thereby showing it to be empty ; 
and returns it to the owner. 

Before the construction of any of this apparatus is under- 
taken, the size and kind of coins to be used should be decided 
upon. The T. Nelson Downs palming coins, will be found satis- 
factory. As the edge is higher than the center they stack evenly. 
They also have a permanent glitter. 

The Coin Dropper. 

The coin dropper, shown in Fig. 56, consists of a piece of 




I 




Fig. 56 



brass tubing, the inside diameter of which is slightly larger than 
the coins, allowing them to work up and down without binding. 
The length of the dropper should be about half an inch less than 
the breadth of the palm. Inside one end of the tube 
a thread is cut, into which is screwed a solid brass cap, 
with a shoulder, the outer edge of which is milled. One half 
the circumference of the other end of the tube is fitted with a 
semi-circular piece of brass (A) about one-eighth of an inch 
across it's face and one thirty-second of an inch deep; 
this should be fastened in place by "sweating" so as to leave 
the inside of the tube smooth. The remaining half of the cir- 
cumference is now filed down below the under edge of A to a 
depth equal to one and one-half times the thickness of a coin. 
Inside the tube is a spiral spring similar to the one shown in 
Fig. 63 (b), but in length when expanded, the same as the out- 
side measurement of the coin dropper. 

263 



The Art of Magic 

To one end of the spring a brass disc the size of a coin is 
soldered. With the spring and disc in place, the pressure of the 
spring holds the disc against the under side of A, in Fig. 57, 
and when a coin or coins are placed between the top of the disc 
and the under side of A the top coin is held firmly in place, 
and cannot drop out until forced by the tip of the first finger. 
Fastened to the outside of the tube at right angles to the open 
side of and a little below A is a piece of brass (D) one-half by 
one and one-quarter inches. 

In operation the coin dropper is filled with coins, and thumb- 
palmed in the right hand by grasping the milled edge (F) in the 
crotch of the thumb and the hand. As the borrowed hat is 
passed up it is received sideways, crown downward, and the coin 
holder placed between the hat crown and the inside edge of the 
brim, the milled edge holding it in place. 

The hat is now placed upon the table, and the sleeves rolled 
up, after which the hands are shown empty and the hat picked 
up with the right hand, the left hand, which holds the coin 
dropper, coming up under the side farthest from the audience. 
Removing the coin dropper and giving the hat a quarter turn 
brings the apparatus inside the hat, where it is easily turned 
so that the plate (D) rests against the sweat band. The position 
of the dropper is horizontal ; the little finger is placed across the 
end of the cap (F) ; the second and third fingers are around the 
dropper; and the thumb is outside the hat, thus leaving the 
first finger in position to push the top coin downward and out of 
the dropper, allowing it to fall into the hat. The coil spring 
immediately pushes the next coin into position, and the move is 
repeated. 

For those who are particular in regard to details Mr. And- 
erson suggests the following slight improvement to the dropper: 
Cement to the inside surface of the cap (F) a piece of rubber 
on which the lower end of the spring will rest. This will prevent 
it ''talking." The outer face of the brass disc on which the 
coins rest is also covered in the same way, but in this case the 
diameter of the rubber should be less than the disc, so as to 
264 



The Art of Magic 

prevent any binding on the inside of the tube. In the next 
chapter will be described the only practical and satisfactory 
method of applying rubber to metal surfaces. 

The various moves for catching the coins and apparently 
dropping them into the hat are so fully covered in ''Modern 
Com Manipulation," as well as in other treatises on magis, that 
we shall not take up the space to describe this part of the act 
in detail. The construction of the apparatus is what mostly con- 
cerns the reader. The first piece is 

The Table. 

The small side table or stand upon which the coins are 
turned out of the hat, is the well known ''well top," 
around which a drape about eight inches deep is hung. Fig. 57. 




Fig. 57 

The table top is about thirteen by fifteen inches and three- 
quarters of an inch thick. One inch from the edge of a long 
side a slot is cut three inches long and one and one-half inches 
wide. The top is covered with black felt which is cut and turned 
in around the "well." This "well" is concealed by an inlaid 
design. The shaded portion of the design in Fig. 57 shows the 
"well." 

Standing at the side of the table, the performer grasps the 
rear edge with the right hand, at the same time placing the 
hat against the front edge. By tilting the table forward the 
coins slide into the "well," although the spectators imagine the 
money falls into the hat. 

265 



The Art of Magic 

THE COIN EASEL. 
This apparatus, illustrated in Pig. 55, consists of a black 
stick thirty-one inches long by three inches wide and seven- 
eighths of an inch thick. The face (G) is two and one-quarter 
inches wide and the balance of the width is equally divided and 




Fig. 58 

beveled at the edges (H-H). Two rows of brass-headed tacks are 
266 



The Art of Magic 

driven part way into the stick, the rows being two and one- 
quarter inches apart and each tack separated from the other by 
two and one-quarter inches. The tacks in the two rows are not 
set opposite each other, but alternately, as shown in Fig. 55. 

At each side of the stick is a piece of brass tubing made fast 
by screws at (J- J). At the back is a third leg of one-quarter 
inch steel rod fitted into a socket as shown at (K) in Fig. 58. 
The rod is made fast by a thumb screw (KD). The angle at which 
the easel stands is, of course, determined by the length of the 
third leg. The proper angle for the easel is twenty degrees from 
the perpendicular. 

•The top, shown inverted in Fig. 59, is five inches in diameter 




Fig. 69 

and one-half inch thick, made of soft wood, into which two pegs 
go inside the tubing which form fche legs, thus holding the top in 
place. 

Between the pegs, a peculiar shaped piece of tin (M), is 
fastened ; to this tin, two brass tacks are soldered, in the correct 
position to bring them in line with the rows on the stick. The 
purpose of this tin mask will appear later on. 

The coin holder (0), referring again to Fig. 58, is a piece 
of brass tubing, two inches long and of the same diameter as the 
coin dropper illustrated in Fig. 56. One end of this tube is 
closed with a brass plate, in the center of which is set a brass 
collar (P) through which the rod (R) works; on the end of the 
rod, inside the tube, is a disc slightly smaller than the coin, as 

267 



The Art of Magic 

illustrated at (AB) in Fig. 60. When the tube is loaded with 
coins and the rod and disc (R) and (AB) are moved forward 




Fie. 60 



the coins are forced out, one at a time. A brass plate (CD) one- 
half by two and one-half inches, is soldered to the tube near the 
open end. 

On the side opposite the plate (CD) an inverted '*L'' 
shaped piece is fastened (EF) in which a ''V" shaped slot is 
cut; the distance between the face of (EF) and the mouth of the 
tube should be one-sixteenth inch greater than the thickness of 
the stick (G) in Fig. 55. 

At the top of the stick, or face of easel, an "U" shaped 
cut is made, in which the dropper (0) fits, see Fig. 58; and at 
each side of this opening, and on the top edge of the stick, a 
brass nail (UZ) is driven and the head filed off, leaving the 
nails one-quarter inch above the surface. Near each end of 
the brass plate (CD), Fig. 60, two holes (S-S) are drilled to 
receive these nails, while on the back of the stick, see Fig. 58, 
near the top, is a large and a small round-head screw (T). These 
screws engage the ''V" shaped slot in (EF), Fig. 60, which, 
with the nails at (UZ), see Fig. 58, keep the holder firmly in 
place; but like the rest of this apparatus, is instantly removable 
for packing without the use of any tool. 

With the com holder loaded and in position the top. Fig. 59, 
is put on, the piece of tin (M) masking the mouth of the coin 
dropper, but not resting on it, as one-fourth inch of each side of 
the plate (M) is turned at right angles, thus forming a chute 
down which the coins fall onto the tacks, after leaving the drop- 
268 



The Art of Magic 

per, the fringe partially hiding them until they are fairly started 
on their zigzag journey. This gives a perfect illusion of the 
coins falling through the bottom of the hat and traveling down 
the easel. 

We now come to the most interesting portion of the appar- 
atus. The motive power of the coin dropper, Fig. 58 (JK), is 
a tube filled with fine dry sand, which is allowed to escape into 
the cup (LM) through a slot in the bottom of (JK) controlled 
by the lever (Z). Through the cap (OP) a rod (W) projects; 
and fastened to the end of this rod inside the tube is a disc, as 
illustrated at (RS) in Fig. 63. Between this disc and the inside 
of the cap (OP), in Fig. 58, a coil spring (B), Fig. 63), is com- 
pressed and held until the cap is fastened in place. The disc 
prevents the spring forcing its way into the sand; but as the 
sand runs down, the spring slowly expands forcing the disc (RS), 
Fig 63, downward, thereby drawing with it the rod (W). This 
rod in the motor is connected with the rod (R) of the coin 
holder, see Fig. 58, by a piece of black fish line and small hook 
(RA), see Fig. 60, running through the eye at (P), in Fig. 58. 

The speed at which the sand is allowed to run determines the 
interval of time between the starting of the several coins on their 
zig-zag journey down the easel. 




Fig. 61 



Fig. 61 gives an end view of the tube (JK) which is three 
inches long and of the same diameter as the coin holder. Exactly 
one-half inch from the lower end of (JK) a bottom is set in, in 
which a slot (X), one-half by one-eighth inch, has previously 

269 



The Art of Magic 



been cut. A pear-shaped piece of brass (TU) loosely riveted 
at (Y) covers or opens the slot (X) when moved by the lever (X) 
to which it is fastened. A portion of the tube (JK) is cut away 
to allow the lever (Z) to be moved far enough around to close 
the slot (X). Projecting above the surface at (XY-XY) are 
two rivets made to engage the slots (AX- AX), see Fig. 62. This 



cup (LM) into which the sand runs, is three inches long and in 
diameter fits tightly over (JK), as in Fig. 58. The Cap (OP) 
has a thread cut on the inside and screws onto the top of (JK) 
which is threaded to receive it. 

In a parallel line to the lever (Z) a piece of sheet brass one 
by three inches is fastened, and bent to form two feet, as shown 
in Fig. 61 (BX). On the sand cup (LM). see Fig. 62, is fas- 
tened a similar piece, but forming only one foot, which is on the 
side opposite the lever. Each of these three feet has a "V" 
slot cut from the top doivmvard. Three screw-eyes are placed 
on the back of the stick to engage these slots, the motor is placed 
against the stick with the opening in each slot immediately under 
a screw-eye; the motor is then moved upward until the screw- 
eyes are wedged in the slots, when the screw-eyes are given a 
quarter turn. As soon as the spring inside the motor is in 
action, its tendency is to pull the whole motor upward, hence 
the position of the ''V" slots and the screw-eyes. LTnder the 
sand cup, Fig. 58, is a post (DY) with a thumb-screw (BY) 




Fig. 62 



270 



The Art of Magic 

threaded through it near the outer end. This is turned upward 
until it binds against the bottom of the sand cup, and prevents 
the motor falling before the spring is in operation. 

In Fig. 58 (FX) is a piece of lead made fast to the easel to 
overcome its top-heaviness. By attaching a black fish line to 
the lever (Z), threading it through an eye at (V) and through 
another eye in the table top, and thence running it off to an 
assistant, the coins, when this line is pulled, will commence 
falling, and later will fall at greater speed, when, at the com- 
mand of the performer, the assistant pulls the lever wide open. 
To prevent corosion, all parts should be nickle plated, but not 
polished, and then painted black on the outside. The cost of 
materials for the construction of the various pieces of apparatus 
described is slight. The principal item is labor. The reader pos- 




Fig. 63 

sessing mechanical ability will find little difficulty in construct- 
ing, or having constructed under his supervision, a perfect and 
satisfactory piece of apparatus, if the minute details of construc- 
tion are closely followed. Except the spring in the coin dropper 
and in the motor, neither of which lift (both expanding without 
interference) gravity, the one dependable force used in magic, 
is the cause of all the effects. 

To the audience the easel is simple in appearance, and too 
slender and fragile in construction to suggest concealed machin- 
ery. The black stick brings the bright coins into bold relief, 
while the musical cling-clang of the coins dropping into the glass, 
together with the others zig-zagging down the easel, please the 
eye and ear far better than the larger and more expensive coin 
ladders designed for the stage. 

271 




W. G. EDWARDS. 



CHAPTER XV. 



TRICKS OF THE TRADE. 

This chapter is one of the most valuable in the volume. 
The author can say this much freely, without being accused of 
egotism, for it is none of his work. They have to thank Mr. Carl 
Anderson and Mr. W. G. Edwards for compiling the following 
list of practical hints: 

1. Before painting or cementing on metal, especially brass, 
the metal should be soaked for at least an hour in a saturated 
solution of sal soda, and then rubbed clean and dry with a soft 
cloth. This removes the grease that is always found on new 
metal and which otherwise would cause the paint to scale olff. 

2. Cloth cannot be glued to traps or other metal surfaces. 
Use the rubber cement with which tires are cemented to bicycle 
wheels. After preparing the metal as described in the previous 
paragraph, spread a thin coat of the cement on the metal and 
allow it to stand between twenty and thirty minutes, or until it 
becomes 'Hacky. " Then apply the cloth or other similar 
material. When applying sheet rubber to metal, coat both the 
metal and the under surface of the sheet rubber. 

3. To prevent warping, table tops should be three-ply, that 
is to say, three pieces of wood, each piece about a quarter inch or 
less in thickness, laid one upon the other with a coating of glue 
between ; but the grain of one piece should run across the grain 
of the piece placed next to it. 

4. Both sides of a table top, and especially around traps 
or "wells," should be painted with a dead black paint contain- 
ing neither varnish nor dryer. If the felt covering is torn or 
burnt the table top thus prepared will not show. 

273 



The Art of Magic 

5. Felt for table tops should be shrunken before using. 
Wring out, in cold water, a white cloth of the same size as the 
felt. Spread the felt on the wet cloth and roll the two pieces 
up together and let the bundle stand for three hours, after 
which hang the felt up to dry. When the felt is quite dry press 
out any wrinkles. If not properly shrunken, the action of the 
air or the glue will, in time, shrink the cloth away from the trap 
or ^'well;" and cloth not prepared in this way is more liable to 
show spots. 

6. The "Anderson Inlaid Top" differs from the original 
"well-top" table in two respects: No circular designs are use<i. 




Fig. 64 



Circular patterns may lead to the impression that there is "a 
hole in the table," due to the natural idea of a hole always being 
round. 

The designs are made with ribbon, Figs. 57 and 64, cemented 
into the felt top. The absence of all tacks and thick braid per- 
mits coins, cards and, of course, larger objects to be moved into 
the "well" without picking them up. The shaded portions of 
the designs represent the "wells." 

Prepare the wood top of the desired size, as described in 
paragraphs 3 and 4. Lay out the design on the wood with a 
scratch-awl, allowing for the width of the ribbon ; then cut out 
the portion of the design intended for the "well." Next cover 
the surface of the wood with liquid glue and apply black felt, 
which has been prepared as described in paragraph 5. Cut the 
274 



The Art of Magic 

felt diagonally from corner to corner of each well, turn it in and 
tack in place. Again lay out the same design, using tailors' 
chalk. Prepare the ribbon as follows, using satin-faced bright 
yellow ribbon, about three-eights inch wide. 

Place the ribbon face down on a smooth surface; cut into 
narrow strips thin sheet rubber sometimes called "mending tis- 
tue" and which is used by tailors; lay the rubber on the ribbon 
and moisten at intervals of every three or four inches. With a 
warm flat iron touch quickly one of the moistened spots on the 
rubber, and it will adhere to the ribbon. If the iron is too warm, 
or the motion of touching the rubber is slow, the rubber will 
melt. A good deal of practice is necessary to learn the proper 
temperature for the flat iron. Prepare the necessary amount of 
ribbon in one piece, and trim off the surplus rubber at the 
edges. Lay the prepared ribbon between the chalk lines indicat- 
ing the design on the table top ; over it place a damp cloth and 
press with a flat iron which should be hot enough to make the 
cloth steam. The rubber now melts, immediately cementing the 
ribbon to the felt. Cut off the ribbon and repeat until the 
design is completed. Do not cut the ribbon in strips before 
applying as it shrinks when steamed. 

7. Various kinds of silk and silk handkerchiefs are sold as 
"Liberty" silk, but none of them is as thin or springy as the 
real article. Genuine "Liberty" silk can always be told by the 
price, which is about three times the price charged for China silk. 
As it is not made in strong colors, it is advisable to purchase the 
white and dye to the desired shade. 

8. There are three kinds of sheet brass : soft, half -hard and 
hard. In appearance all three look the same ; but the two latter 
are best adapted for springs. Brass has a grain the same as 
wood, and the way of the grain makes the most permanent 
spring. 

9. Use only soft or half-hard brass for the manufacture of 
articles bent at sharp angles, as hard brass will in time crack. 

10. "Pan" velvet has more sheen, and is, therefore, more 
pleasing to the eye than the ordinary velvet used for table and 
other drapes. 

275 



The Art of Magic 

11. The thinness of ordinary brass tubing prevents the cut- 
ting of a deep thread, which is the only kind that will wear. 
Cut the thread on a short piece of brass rod and solder the other 
end of the brass rod inside the tubing, leaving the portion with 
the thread projecting the required length. 

12. The "Lighted Candle from the Pocket" and similar 
effects require a wax match in the place of the candle wick. To 
prepare, cut off the wick and insert a hot needle in the center 
of the candle. As the wax softens, quickly withdraw the needle 
and put in the wax match, which the cooling wax will fasten in 
place. 

13. For the ''Obedient Candle" and similar lights use 
sweet oil. 

14. A handy servante for a glass of water, is made by 
bending a stiff wire into a ring and fastening the other end of 
the rod to the under side of the table. If before bending the 
wire is covered with small rubber tubing, it will prevent the 
glass "talking." Of course the glass must be one that tapers, 
else it will fall through. 

15. Small black fish line is more dependable than black 
thread. 

16. The best wax for magic purposes may be purchased at 
any drug store. It is called "Diachylon Plaster" (or lead plas- 
ter). Its usual form is a round bar about one inch m diameter. 
Cut out from the center a small piece, and Avork it between the 
fingers a few moments, when it will be found "tacky," but will 
come off clean and in one piece from the card or other object. 

When paint is "tacky" rub it with a cloth wet with 
ammonia. 

One coat of varnish never cracks. 

Two coats of varnish seldom crack. 

Three coats of varnish often crack. 

Four coats of varnish always crack. 

Did you know that the juice of an onion will clean gold 
paint and make it look like new? 

To paint on tin, scratch the surface to be decorated with 
276 



The Art of Magic 

a piece of sandpaper, apply a coat of thin shellac varnish, then 
paint the desired color. . This will prevent the paint from 
shelling off, as it often does on the "painted flesh color 
apparatus" you purchase. 

Varnished apparatus may be made to look like new by 
washing with a mixture of a poimd of wheat bran boiled in a 
gallon of water. 



277 



CHAPTER XVI. 



TRICKS WITH EGGS. 

Conjurers, as a rule, are partial to eggs, and in one guise or 
another the product of the industrious Penelope of the barnyard 
may be found in every well regulated magical programme. Cards 
or rings or gloves are passed mysteriously into eggs; from eggs 
the conjurer produces yards upon yards of ribbon or showers of 
confetti; eggs are caused to disappear and reappear in the most 
bewildering manner, or to transform themselves into handker- 
chiefs and other objects with equal facility. There are hundreds 
of egg tricks known to the profession ; every work on conjuring, 
pretentious or otherwise, discusses the subject at more or less 
length; and while the author dares not indulge the hope that 
everything explained in this department will be a novelty to each 
and every reader, they do believe that they have contributed an 
intersting chapter to the History of Humpty Dumpty. 

TO BALANCE AN EGG ON A TABLE. 
The difficulty of accomplishing this effect with an unpre- 
pared egg is that the yolk, which is heavier than the rest of the 
contents, is held suspended near the center, and consequently the 
egg is top heavy. If the egg is well shaken beforehand, so as to 
break up the yolk, the center of gravity will be lowered, when the 
egg may be balanced on its larger end. A much simpler and, we 
venture to think, decidedly better method, inasmuch as an unpre- 
pared egg may be used, is to place a grain of salt on the table. 
Place the larger end of the egg on the minute piece of salt, 
pressing down so that an almost invisible hollow is formed in the 
particle, when the egg will stand up as straight as in the experi- 
ment of the Genoese navigator. A still more startling feat is to 

279 



The Art of Magic 

balance an egg on the rim of a tumbler. The effect is obtained 
in exactly the same way. A grain of salt is placed on the rim 
(which must be flat) and the egg is balanced on the minute par- 
ticle of salt. Although the skeptically inclined may be disposed 
to believe that a second grain of salt is essential in order to 
believe this explanation, we assure the reader that if a glass with 
a perfectly flat rim is used the apparently impossible feat will 
become possible. 

While on the subject of balancing we may describe a par- 
ticularly neat method of balancing a glass of water, a feat that 
may logically precede or follow the two just described. A glass 
is partially filled with water and balance on one edge. This 
looks for all the world like a feat of skill, but without a knowl- 
edge of the secret one might practice until Doomsday with no 
better result than spilling the water on the tablecloth. The 
secret is absurdly simple. Before presenting the trick slip a 
match or toothpick under the tablecloth, or under a napkin, and 
tilt the glass over it. The result is that the glass will remain on 
its front edge, as if balanced. Care must be exercised to use 
exactly the right amount of water. A few trials will determine 
the proper amount which is, roughly speaking, one-fourth of a 
glassful. In presenting this trick before a large company the 
reader is advised to attach the match or toothpick to a piece of 
thread. If any undue curiosity is manifested, and there is a 
desire on the part of the skeptical to peep under the tablecloth, 
the performer can instantly withdraw the "apparatus." 
Although absurdly simple this little trick is one of the best de- 
scribed in this book, and the reader is earnestly advised to pre- 
sent it on suitable occasions — after dinner or at a banquet. 

EGG CHANGED INTO CONFETTI. 

A very effective interlude in a series of egg tricks is to 
take an egg in the left hand, wave a fan in front of it and lo ! a 
shower of confetti powders the air. 

The secret is simple. Blow an egg, making the hole at one 
end rather large. When the egg has been rinsed and dried, fill 
280 



The Art of Magic 

it with confetti, and conclude by pasting a piece of paper over 
the hole. While fanning the egg is crushed in the left hand, and 
the confetti is wafted into the air. The fragments of the egg- 
shell fall to the floor with the confetti. Select a white egg for the 
experiment. This egg may be used to advantage in the "Jap- 
anese Egg Trick." which is described in this chapter. 

A NEW IDEA IN THE VANISHING OF AN EGG. 

The author is indebted to Mr. Max Holden for this pretty 
and mysterious vanish, which is as follows: After an egg has 
been produced, the performer places it in a thin paper bag, and, 
on holding this before a candle, the shadow of the egg is seen 
on the bag. The bag is then crushed, and all traces of the egg 
are found to have disappeared. 

For this trick nothing is necessary except an egg, a bag, and 
an oval shaped piece of cardboard. The cardboard shape is 
placed in the bag, and it is this that causes the egg-shaped 
shadow. When the egg is apparently placed in the bag it is 
in reality palmed. After the shadow is shown the bag is 
crushed, and the egg reproduced as fancy dictates. Mr. W. G. 
Edwards performs a similar trick with a brilliant ball, by past- 
ing a piece of red glazed paper in the bag. 

THE EGGS FROM THE MOUTH. 

The feat of producing a number of eggs from the mouth of 
the performer's assistant is very old. Bellachini made it a 
special feature of his programme, and sundry conjurers since his 
day — Hell is, the Herrmanns, and others of minor note — have 




Fig. 65 

presented this effective, if somewhat repulsive, illusion. The old 
method is so well known that we will not venture to describe it, 

281 



The Art of Magic 

but will content ourselves with a brief account of the latest and 
best method. The eggs in this instance are made of thin india- 
rubber and have a tiny hole in each end. This admits of their 
being crushed quite flat as illustrated in Fig. 65. Six or more 
of these eggs may be placed in the mouth at once. As the eggs 
are pushed between the lips, one hy one, see Fig. 66, the air, 
rushing into them through the two holes, fills them out to their 




Fig. 66 

proper shape. The eggs, on being released, fill out instantly, 
and the illusion is perfect. 

THE CONJURER AS CHICKEN FANCIER. 

This is a laughable and mysterious experiment. In effect it 
is as follows: The performer borrows a derby hat, and, after 
proving it empty, places it crown downward over a small pillow 
on the seat of a chair. On lifting the hat an egg is seen in the 
improvised nest. The performer repeats the operation until six 
eggs appear, one at a time, in the nest, and concludes by pro- 
ducing a hen from the hat. 

The requisites and preparation for this trick are as follows: 
A chair with an opaque back to which is hanging a bag containing 
a small hen ; on the seat of the chair a small pillow, which is 
pressed in so as to form a slight hollow or nest; six eggs con- 
cealed on the person of the performer, one in the right trousers 
282 



The Art of Magic 

pocket; one in the left trousers pocket; three vested (right, left 
and center) ; and one in bend of left arm. 

Borrow a hat and deposit it on the seat of the chair while yon 
pull up your sleeves. The left hand pulls up the right sleeve 
first, and in pulling up the left sleeve the egg in the bend of the 
arm is palmed in the right hand. Pick up the hat and press the 
egg in the outside rim. The hands and hat may now be 
shown empty, and in the act of setting hat down on pillow the 
egg is shifted inside the hat and allowed to drop into the nest. 
In the act of lifting the hat to show the egg, the left hand palms 
another egg, and the movements are repeated. When the eggs 
on the left side are exhausted the performer moves to the other 
side of the chair, so that he can manipulate the hat with the left 
hand and palm the eggs in the right hand. When the last egg 
has been discovered in the nest, the performer casually passes the 
hat behind the chair and loads the bag holding the hen. In the 
act of returning the hat to its owner the hen is produced, much 
to the astonishment of the wearer and the amusement of the 
spectators. The conjurer brushes the hat with a handkerchief, 
both inside and out, carrying away the bag under the handker- 
chief. 

JAPANESE EGG TRICK. 

n/ We do not know whether this pretty trick is of Japanese 
origin or not; but it is so charming and illusory that it inevita- 
bly suggests the graceful and dextrous jugglers of the Land of 
the Rising Sun. 

In effect the performer takes a cigarette paper, or any small 
piece of tissue paper, rolls it into a little ball, moistens it between 
the lips, and then, placing it on a fan, makes the little ball jump 
and roll to the accompaniment of lively music (in case the 
amateur is fortunate enough to have an accompanist). The 
pellet suddenly puffs out and gradually becomes larger and 
larger, eventually assuming the form and color of an egg. The 
conjurer shows that the egg is solid and unprepared. Then he 
waves a fan in front of it, and To ! the egg disappears in a shower 
of confetti. 

283 



The Art of Magic 

The secret is decidedly ingenious. In the first place, the con- 
jurer must heed the advice of the immortal Mrs. Glass, of rabbit 
stew fame, and procure an egg. This egg should be an ordinary 
one — the more ordinary the better. Do not be extravagant in 
the purchase of this necessar}^ article. We give this advice for 
two reasons: First, one should always practice the virtues of 
economy and buy as low as possible ; second, this experiment will 
not be successful with a newly laid egg, for the simple reason that 
the inner skin is thicker and more resilient in an old egg than a 
fresh one. The egg best adapted for the purpose should be 
about two weeks old. It is the egg's inner skin that is used for 
the trick. In order to get this skin soak the egg over night in 
white wine vinegar (sometimes twenty-four hours, the exact time 
depending on the age of the egg), so that the shell may be 
entirely dissolved. Before immersing the egg in vinegar shake it 
thoroughly, so that the yolk will be broken. The necessity for 
this will soon be apparent. 

When the shell is dissolved, wash the egg; and when the 
white skin, which is now the egg 's only wrapper, is quite smooth, 
perforate the small end with a pin, and carefully remove the 
contents, taking especial pains not to enlarge the hole more than 
is absolutely necessary. In order to simplify this operation the 
egg is shaken before it is immersed in the acid bath. When the 
egg is empty dip the skin in the water, and by pressing the skin 
between the fingers, so that the water goes in and out, the inside 
is thoroughly cleansed. In this condition the little ' ' apparatus ' ' 
is ready for use. ' The skin may be preserved for an indefinite 
time if kept in a solution of water and alcohol. With ordinary 
care one skin should last an entire season. 

Before presenting the trick the egg-skin, which must not be 
dry, is rolled into a small ball, and in this shape it cannot be dis- 
tinguished from a pellet of cigarette paper. The egg-skin ball is 
concealed in the mouth. It is easily exchanged for the paper 
ball when the latter is put between the lips as if to moisten it. 
The little ball is now place on a fan, and if made to jump about, 
it will gradually assume its original form, on the same principle 
284 



The Art of Magic 

that a flattened rubber ball swells into shape when it is tossed 
between the hands. The effect of the supposed pellet of paper 
visibly changing into an egg is indescribably pretty, although the 
effect will be heightened if the egg-skin is jounced to a jocund 
two-step or sprightly gavotte. 

The concluding part of the trick will now be clear to the 
reader. An egg, loaded with confetti, is vested on the left side, 
or concealed in any manner convenient to the conjurer. While 
the eyes of the spectators are focused on the dancing egg-skin the 
egg loaded with confetti is palmed in the left hand. This hand 
now grasps the inflated egg-skin, which is compressed and con- 
cealed behind the natural egg. This egg is passed rapidly around 
by the performer to satisfy the spectators that it is unprepared. 
The egg actually does not leave the conjurer's own hand, 
although if carefully prepared it will withstand an ordinary 
examination. 

The student is advised to use nothing but white wine vinegar 
in preparing the "apparatus" for this trick. Although ordinary 
vinegar and acetic acid will dissolve the shell equally as well, 
they discolor the egg skin. Probably the first egg or two thatthe 
reader prepares will not be a success, owing to the fact that 
proper care is not observed in removing the contents of the egg 
from the skin. Patience and perseverance will overcome the diffi- 
culty, however, ?.nd the experimenter will be rewarded with the 
prettiest of all egg tricks. 

THE LATEST EGG, HANDKERCHIEF AND GLASS TRICK 

A favorite combination trick is that in which an ordinary 
egg, marked with a pencil, and dropped into a glass and cov- 
ered with a paper cylinder, changes places with a handkerchief 
held in the performer 's hands. The usual method of accomplish- 
ing this effect is by means of bottomless tumbler. The author 
takes pleasure in presenting a comparatively new and superior 
method of accomplishing this effective combination. The bottom- 
less glass is retained in this method, but it is used in conjunction 
with a dainty and ingenious piece of apparatus — a miniature 

285 



The Art of Magic 

table, illustrated in Fig. 67. This table, which is niekle plated 
throughout, save for the top, which is covered with a figured felt, 
is sixteen inches in height and the base and top measure five 



C. ) 

r 




Fig. 67 



inches in diameter. The standard is composed of two parts. The 
lower part, nine inches long, is made of half -inch tubing, to the 
top of which is brazed a cup-shaped attachment as sho^^^l in A 
in Fig. 67, made of metal one-twelfth of an inch thick. The 
diameter of this flaring cup at the top is one and one-twelfth 
inches. The cup, bulging in this way, provides an inside collar 
286 



The Art of Magic 

or rim, about one-eighth of an inch wide. One side of the cup is 
slotted for a bayonet catch, see (B) in Fig. 67. Fitted inside the 
tube (C) is a piston seven and one-half inches long, the top of 
which normally rests inside the cup (A). A slot, two and a 
half inches long, is cut in one side of the tubing, shoAvn at (D), 
and by means of a small projecting stud (E) the piston may be 
raised. The upper part of the leg or standard (F) is made of 
tubing a trifle less than an inch in diameter, and is just large 
enough to fit snugly in the cup (A) , a small pin (G) being brazed 
to lower end of the tube #hich fits in the slot (B). This part of 
the leg is permanently attached to the underside of the table top, 
being threaded into a metal plate which is fastened by screws to 
the wood. The table top is sawed out of quarter-inch stuff, 
painted black on the under side, and the top is covered with the 
very best quality of figured felt. A black felt with green figures 
gives the best results. A circular hole is cut through the top 
corresponding to the diameter of the metal tube. The felt is 
cut to correspond with the hole in the table top, save that the 
circular piece is not entirely removed, a hinge of cloth being left 
so that the small circular piece of felt forms a flap, or trap, 
which covers the hole. As the felt is figured the line of this cloth 
trap cannot be seen at a distance of three feet. 

To prepare for the trick the two parts are fitted together, 
as in Fig. 67, and a small liberty silk handkerchief is pushed into 
the upper part (F), and the felt flap, or trap, is smoothed down 
flush with the top. The apparatus thus loaded should stand on 
one of the regular tables. A duplicate handkerchief lies on the 
table beside the little stand. In presenting the trick, an exam- 
ined and marked egg is placed in the bottomless glass, after 
which the glass is covered with a large handkerchief. In the act 
of placing the covered glass on the little stand the egg is allowed 
to fall into the palm of the left hand. This hand adjusts the 
handkerchief, which should be large enough to fall down as far 
as the slot (D), and at the same time the right hand moves 
the stud upward, the piston forcing the concealed handkerchief 
into the glass. Taking the duplicate handkerchief from the 

287 



The Art of Magic 

table, holding it in the left hand so that the egg is concealed, 
the performer announces that he will pass it into the glass. 
Placing the two hands together, and standing with the left side 
to the audience, the arms are moved up and down, and under 
cover of this movement the handkerchief is worked into the fing- 
ers of the left hand, the egg eventually becoming invisible. The 
egg is then transferred to the right hand and passed to the audi- 
ence for examination. The left hand, in which the small silk hand- 
kerchief is concealed, whips the large handkerchief off the glass, 
and in laying the handkerchief cover on the table the palmed 
handkerchief is dropped into a servante, or simply hidden under 
the larger handkerchief. The left hand now jerks the small silk 
handkerchief out of the glass, and with a synchronal movement 
the right hand carries the glass away. The glass is not lifted 
from the table, but is taken off with a sliding movement, so that 
the bottom edge will level the felt flap flush with the top. This 
flap, of course, was raised by the action of the handkerchief being 
pushed by the piston into the glass, and as it is not heavy enough 
to fall back by itself, the sliding movement of the glass is an 
important detail. If the performer works with an assistant he 
can simplify the tr^ck by having the latter manipulate the piston. 
There is another form of handkerchief stand designed for use on 
a regular piston table. In this case the table is only a foot in 
height, and the tubing (which forms the standard) is of uniform 
size from base to top — five-sixths of an inch in diameter. The 
standard itself is ten and one-half inches in length, and the lower 
end of the tube screws into the base so as to bring the bottom of 
the piston, which works inside the tube, flush with the bottom of 
the base. In other respects the table is the same as the one de- 
scribed. The advantage of this design is that the handkerchief 
may be loaded into the glass by the assistant pulling a string 
attached to a piston concealed in the regular table. This piston 
operates the piston in the little stand and the handkerchief is 
forced into the glass without any work on the part of the per- 
former. Undoubtedly this is the cleanest method of presenting 
the trick. 
288 



The Art of Magic 

'^EGGSAMPLE." 

We are indebted to Mr. W. G. Edwards for the trick of the 
above title, and in his hands it forms a complete illusion. 

Effect — An ordinary playing card transforms itself into an 
egg of the Simon Pure variety. 

Presentation — Show hands empty. Take a playing card 
from table and hold at finger tips of right hand. Vanish and 
appear card once by means of the back hand palm. Under cover 
of this sleight, produce and palm the egg m left hand. Now with 
the Jeft side of body presented to spectators commence a rubbing 
movement of the left hand over the right On the third or fourth 
movement quickly back palm the card and leave the egg in its 
Ijlace at the finger tips of the right hand, making a slight upward 
movement with both hands as the change is made. The appear- 
ance of the egg is so unexpected that the knowing ones are com- 
pletely fooled. The egg is then taken from the right hand and 
held exhibited with the left, the right hand reaches to table, 
takes up wand to tap the egg to show its solidity, and of course 
leaves the card on the servante, or behind some object on table. 



289 



CHAPTER XVII. 



TEICKS WITH BALLS. 

Within the last decade the magic of billiard balls has become 
popular with both the amateur and the professional conjurer. 
The idea of using billiard balls for conjuring purposes originated, 
we believe, with the late Buatier De Kolta, to whose ingenious 
brain the conjuring fraternity is indebted for many useful 
sleights and illusions. It is a far cry, however, from the clumsy 
hinged shell of De Kolta to the single-hand production of four 
billiard balls; and it was this surprising trick that gave the 
impetus to the vogue for billiard ball manipulation. 

As most recent works on conjuring contain the orthodox 
explanation of the single-hand production of four billiard balls — 
that is to say, three solid balls and a half shell — we shall not take 
up any space in explaining the trick, but will begin this chapter 
with the explanation of a method of achieving exactly the same 
effect without the usr? of the half shell. This method demands 
more than ordinary skill in manipulation and will require many 
hours of patient practice on the part of the neophyte. The result 
is well worth the labor, however, and used in combination with 
the manipulations that follow, forms a really startling opening to 
a brilliant series of billiard ball tricks. 

Effect — Four solid billiard balls appear, one at a time, 
between the fingers of the right or the left hand. 

Time Occupied- -About three minutes. 

Requisites and Preparation — A magic wand and four solid 
balls. Two balls are in a contrivance known as the ''Downs bag" 
on the left side, and the other two are vested. This bag is in 
reality a long cloth tube stitched down the inside of the coat. 

291 



The Art of Magic 

The diameter of this tube is just large enough to hold comfort- 
ably a billiard ball. Around the lower end is sewed an elastic 
which keeps the balls from falling through, but which allows of a 
ball being pressed out by the fingers of the left hand. 

Presentation of Trick — Begin by casually showing the 
hands empty. Pick up the wand with the riarht hand, the left 
hand palming a ball from the Downs tube. Make the ''change 
over" and conclude by producing the ball from the tip of the 
wand. The ''change over" and production of ball from the 
wand are old sleights and undoubtedly familiar to the reader. 

The ball is now placed on the doubled-up fist of the right 
hand. The left hand comes up to take the ball (back of left hand 
and right side of body to audience) from the right hand, which 
it really does. The left hand fingers are now opened and closed, 
as if making the ball smaller: and while this is being done the 
right hand makes a move towards the right trousers pocket. 

Pretend to overhear a remark that you did not really take 
the ball in the left hand, and eventually open the left hand, 
showing the ball there. 

The ball is again placed on the right hand fist, and this time 
as the left hand approaches the right the ball is allowed to drop 
into the right hand where it is palmed. The left hand is 
closed, as if it really contained the ball : once more the fingers are 
"worked;" and finally the hand is exhibited empty. The per- 
former remarks that when a ball disappears in that fashion it 
always appears in the trousers pocket. The right hand accord- 
ingly reaches into the trousers pocket and apparently brings out 
the ball, but in reality the ball is left in the pocket. The right 
hand simulates, placing a ball in the left hand. 

The performer coughs slightly, explains that billiard balls 
are good for a cold, and apparentlj^ places the ball in his mouth, 
pushing his tongue into the cheek so as to make it appear that 
the ball is really there. The lump in the check is then touched 
with the finger, the ball apparently swallowed, and one of the 
balls produced from the vest. 
292 



The Art of Magic 

This ball is also placed on the top of the right hand, and in 
turning (right side to audience) the left hand palms the remain- 
ing ball from the tube. 

The left hand with the palmed ball approaches the ball on 
top of the right hand. The left hand apparently takes the ball 
from the right hand, really letting it drop into the right hand. 

Performer now casts a quick glance at the left hand and 
says : ^ ' I beg your pardon. Not there ? ' ' Opening the left hand 
and showing the ball which he again places on top of the right 
hand. "Really I would not deceive you that way." While 
saying this the ball that was on top of the right hand is back- 
palmed, which is acomplished by throwing back the thumb and 
holding the ball between the thumb and the back of the hand. 
The other ball is held on the palm of the hand by the third 
finger tip. The b^nd is now turned over, jmlming the ball that was 
held by the finger, and letting the back-palmed ball fall into place 
between the first finger and thumb. If this move has been done 
neatly, and the proper patter and misdirection used, the hand 
will appear to contain only the one ball. As the majority of 
readers will be unable to perform this sleight, owing to the forma- 
tion of the hand, they will have to omit this part of the trick. In 
this case proceed as follows : Instead of placing the ball on top 
of the right hand for the last time (after performer says ''I beg 
your pardon — not there?") the right hand (which has a ball 
concealed in the palm) is turned with the back toward the audi- 
ence (the left side is toward audience) and the left hand places 
the ball between the thumb and first finger on the right hand. 
The right arm is extended. The hand is now lowered a trifle, and 
during this movement the ball between the thumb and first finger 
is rolled up between the first and second fingers, and on quickly 
raising the hand the palmed ball is allowed to fall, or rather roll, 
toward the finger tips. If done correctly the ball will be caught 
between the first finger and the thumb. This move is almost 
impossible to describe, but practice will soon demonstrate that an 
upward and inward swing of the arm, bringing the hand toward 
the body, will throw the ball into the proper position. The ball 

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The Art of Magic 

does not actually fly through space, but rather rolls along the 
inside of the hand, the first finger and the thumb forming a sort 
of track. The student should practice this move assiduously until 
he can produce the ball at the tips of the thumb and the first 
finger without any appreciable move of the arm; for unless he 
masters this essential part of the manipulation ht may as well 
skip this chapter, as the majority of tricks described herein 
depend absolutely on this basic sleight. Skillfully executed, the 
sudden appearance of the ball from the palm is startling, and 
infinitely more effective than the production of a solid ball from 
the shell. 

The two balls are knocked together, in order to prove their 
solidity to the audience. One ball is now held in the right hand 
and one in the left. Stand with the left side of the body toward 
the audience and toss the ball from the left hand into the air 
several times; then turn so that the right side of the body is 
toward the audience and toss the ball from the right hand into 
the air, meanwhile vesting the hall which is in the left hand. 
At the same time the other ball is pa]med in the right hand. 
Now make a half turn to the right (left side of body toward 
audience) and drop the palmed ball from the right hand into 
the left and casually show the right hand empty. The right hand 
then reaches into the trousers pocket and produces the ball left 
there earlier in the trick. While this is being done the left hand 
palms a ball from the vest, at the same time holding a ball at the 
finger tips. 

One ball is noAv held in the right hand and two balls are in 
the left hand (one being palmed). The left side is toward the 
audience. Knock the balls together, and as the ball in the left 
hand is placed between the first and second fingers of the right, 
the ball in the left palm is palmed in the right hand (during 
the instant that the left hand places the ball in the right fingers). 
The back of the right hand, of course, is turned toward the audi- 
ence. 

The ball held between the first and second fingers of the 
right hand is rolled up between the second and third fingers by 
294 



The Art of Magic 

rolling the ball over the second finger to the third finger. This 
will bring the second finger down behind the first ball which is 
rolled up between the first and second fingers, while the ball in 
the palm is propelled, by the movement previously described, into 
the place occupied by the first ball — that is to say, between the 
thumb and the first finger. The three balls are then knocked 
together to prove their solidity. 

The ball held between the first finger and the thumb is now 
apparently swallowed (really palmed in the right hand), and the 
remaining ball is produced by the left hand under the vest. 

Now turn with the right side of the body toward the audi- 
ence and knock the ball in the left hand against the two visible 
balls in the right hand. 

Transfer the ball from the left hand to the right, depositing 
it between the first finger and the thumb, and in turning so that 
the left side faces the audience transfer the ball from the right 
palm to the left palm. 

The performer now holds the right hand, with the three balls 
in it, high in the air, back of hand toward the audience, and 
allows the ball held behind the first finger and the thumb to fall 
into the right palm, which move is exactly the reverse of the 
method of production. The ball in the left hand is produced 
from behind the left knee. 

This ball is knocked against the ball in the right hand (back 
of right hand to audience) and in making a half turn to the 
right the ball is transferred to the left palm. 

Knock the balls together once more and place the visible 
ball held in the left fingers between the first finger and thumb of 
the right hand, at the same time transferring the ball in left 
palm to the palm of the right. This maneuver is in reality the 
change over" palm. 

The back of the right hand is now toward the audience, and 
the ball between the second and third fingers is rolled over the 
top of the third finger so that it is held between the third and 
fourth fingers; simultaneously with this movement the ball 
between the first and second fingers is rolled over the top of the 

295 



The Art of Magic 

second finger and is held between the second and third fingers; 
and the ball held between the first finger and thumb is rolled 
under the first finger and is held between the first and second 
fingers ; while the palmed ball is jerked or rolled into the place of 
the first ball — that is to say, between the first finger and the 
thumb. This movement is extremely difficult — without doubt 
the most difficult sleight in the whole range of conjuring. Proba- 
bly in the beginning the student will despair of ever mastering it. 
Patience and practice, however, will in time be rewarded by a 
mastery of the move, and the student will be qualified to take up 
the following brilliant series of biUiard ball manipulations, which 
form a natural sequence to the trick just explained. It may 
encourage the reader to know that the author of this book per- 
forms the trick exactly as described. 

PASSING FOUR SOLID BALLS FROM HAND TO HAND. 

The only preparation necessary in this trick is to vest a shell 
on the left side. 

After the four-ball production the balls are held in the 
fingers of the right hand. The shell is finger-palmed in the left 
hand. The ball between the first finger and the thumb of the 
right hand is transferred to the first finger and the thumb of the 
left hand, during which operation the finger-palmed shell is 
slipped over the ball. 

The ball held between the third and fourth fingers of the 
right hand is placed between the second and third fingers of the 
left hand; the ball held between the second and third fingers of 
the right hand is placed between the third and fourth fingers of 
the left hand ; the ball held between the first and second fingers 
of the right hand is placed between the first and second fingers 
of the left hand. The fingers of the right hand are thus brought 
behind the ball in the shell. This ball is finger-palmed in the 
right hand. 

The right hand is held below the left. The left hand is 
now turned over, palm to the audience, slipping the shell on the 
first solid ball and showing the three baUs. At the same time 
296 



The Art of Magic 

the ball that was finger-palmed in the right hand is brought into 
view by the aid of the thumb. The eyes should look at the three 
balls in the left hand for an instant and then shift to the one in 
the right hand. 

The ball in the right hand is tapped against the balls in the 
left hand. As the right hand passes the ball held between the 
first and second fingers of the left hand it finger-palms the shell. 
The left hand is then turned over (back toward the audience), 
and the ball in the right hand is placed between the first finger 
and the thumb of the left hand. 

The left hand is again turned over (palm of left hand 
toward audience) , and the ball held between the third and fourth 
finger is taken in the right hand, at the same time slipping the 
finger-palmed shell onto it. The shell and ball are held between 
the first finger and thumb of the right hand as one. Turn so 
that the left side is toward the audience. The right and the left 
hands are now held about a foot and a half apart and are low- 
ered and raised in the air several times. The third time, the left 
hand makes a kind of an over-hand throw and palms the ball 
that was held between the first finger and thumb, at the same 
time the ball that was in the shell in the right hand is brought 
into view. 

The right hand is now brought towards the left (also make 
a half -turn of the body to the left), and the shell in the right 
hand is slipped over the ball palmed in the left hand, and these 
are knocked against the two in the left hand. 

Another ball is rolled into position for vanishing in the left 
hand, and the balls in the right hand are each rolled down one 
finger lower, which brings the shell-covered ball between the 
first and second fingers. Now stand directly facing the spectators 
with both hands extended as far as possible from the sides. Now 
make a motion of throwing a ball from the left hand into the 
right (at the same time making a half -turn to the right), imme- 
diately turning the right hand over and apparently showing the 
ball. (By aid of the shell). 

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The Art of Magic 

Slip the shell over the ball palmed in the left hand the 
same as before, and repeat same movements for the production 
of the fourth ball in the right hand (in reality three solid balls in 
a shell) . The solid ball in the left hand is palmed. 

Straighten the balls in the right hand and then put the left 
hand down to the left knee. Turn the right hand quickly over 
and exhibit only three balls, the ball betAveen the first and second 
fingers being shelled. At the same time turn the left hand and 
produce the palmed ball. This ball is then changed for the ball 
and shell in the right hand. 

The right hand, with the three balls in it, is then raised to 
the mouth and the ball between the thumb and first finger is 
apparently swallowed (really palmed), and the left hand reaches 
under the vest and produces the ball and shell as two balls. 

Now slip the shell over the ball palmed in the right hand 
and hold ball and shell between thumb and first finger of the left 
hand. 

Two balls are now shown in each hand, and the left hand is 
placed behind the back. The right hand now makes several 
motions towards the chest, and at the third movement one of the 
balls is palmed. The left hand is brought quickly from behind 
the back with apparently three balls in it. 

Slip the shell over the palmed ball the same as before and 
knock the balls together. The right leg is now raised and the 
single ball in the right hand is palmed as a throwing motion is 
made towards the knee. 

The left hand now reaches down to the shoe and produces 
the ball by drawing the hand from the heel to the toe. and when 
nearly to the toe the hand is raised in the air. 

The balls are now placed, one at a time, between the fingers 
of the right hand, during which operation change the shell (held 
between the first finger and the thumb of the left hand) for the 
ball palmed in the right hand. The shell is then dropped into 
the vest servant e, or into any convenient pocket. This trick 
mastered the student will be prepared to undertake what we may 
truthfully say is the non plus ultra billiard ball tricks, the 
298 



The Art of Magic 
COLOR CHANGE WITH FOUR SOLID BALLB. 

This trick follows naturally the one just described. In order 
to present it you must have four white balls in the Downs tube 
on the left side. If the student desires to make the three tricks 
herein described into a consecutive series of billiard ball effects, 
the tube can be made long enough to hold six balls ; the two red 
ones used in the first trick (the production of four solid balls) 
and the four white balls used for the color change. 

At the conclusion of the last trick the four red balls were 
held in the right hand. The left hand palms a white ball from 
the bag and takes the ball held between the first finger and thumb 
of the right hand and knocks it against the three balls in that 
hand. The left side is toward the audience. The ball is then 
replaced in the right hand, during which operation the ball in 
the left palm is transferred to the palm of the right hand, the 
back of which is turned toward the audience. 

The left hand now takes the wand and with it taps the ball 
held in the right hand between the first finger and thumb. 
At about the fourth stroke the red ball between the first finger 
and the thumb of the right hand is dropped into the left hand, 
and the white ball in the right palm is produced in its place, as 
in the ^'One to Four Production with Solid Billiard Balls." 
If this movement is properly executed the effect to the audience 
will be that the tapping of the ball with the wand caused the 
change in color. The right hand is not stationary during the 
change but moves with a sweep toward the left hand, and when 
the left palm covers the ball the latter is dropped and the palmed 
ball produced. The movements of the two hands must be exactly 
timed, a desideratum that will be obtained by practice. 

The ball palmed in the left hand is dropped onto the ser- 
vante in the act of laying the wand on the table, and another 
white ball is finger-palmed in the left hand from the bag. 

The right hand is held with the palm toward the audience, 
and the left hand, covering for an instant the red ball between 
the first and second fingers, palms the ball. The right hand is 
now turned over so that the back of the hand is toward the 

299 



The Art of Magic 

audience. By keeping the left hand motionless this move will 
bring the finger palmed with ball into the place of the red ball. 
This is a very effective color change. 

The ball m the left hand is vested as the right hand 
is raised in the air. and as the eyes of the audience are on the 
right hand (on the ball that has just changed color) the move- 
ment of the left hand will not be noticed. The left hand then 
squeezes a third white ball from the tube. 

This ball is transferred to the palm of the right hand in 
the act of showing that the balls in the right hand are solid — 
that is to say, by knocking them together. 

The left hand may now be shown back and front, after which 
it is passed over the third ball in the right hand, moving down- 
ward over the rest of the balls several times. At about the third 
or fourth time it quickly finger-palms the third ball, and the 
move for the production of the third ball, as described in the 
"One to Four Production with Solid Billiard Balls," is made. 

The finger-palmed ball is dropped onto the servante, while 
the right hand knocks the third ball on the table in order to 
prove its solidity. 

Another white ball is palmed in the left hand from the bag. 

The red ball held betAveen the third and fourth fingers of the 
right hand (the fourth ball) is taken in the left hand between the 
first finger and the thumb, and the right hand is turned over so 
that the palm is toward the audience. 

The visible ball in the left hand is now apparently taken 
back in the right hand, but in reality it is the ball that was 
palmed in the left hand. The left hand is held over the ball and 
strokes it a few times and finally it is shown to have changed 
color. The ball in the left palm is disposed of on the servante 
or in the performer's pockets. 

THE TRAVELING BALLS. 

A favorite trick with magicians who are partial to the man- 
ipulation of billiard balls is to wrap a red and black ball each in 
a piece of paper and cause them to change places. The old 
300 



The Art of Magic 

method by which this effect is accomplished is to wrap each ball 
in a sheet of paper prepared by pasting two pieces of newspaper 
together by their edges, a loose layer of glazed paper being 
placed between the two. The red ball is wrapped in the sheet 
prepare with black paper; and the black ball, in the sheet con- 
taining red paper. Each parcel is handed to a spectator for safe 
keeping, but before doing so the performer, in showing the balls 
for the last time, so that the audience may know the relative 
position of each ball, tears the outer layer of each sheet, the 
glazed paper being visible. The balls are then made to change 
places with the greatest of ease. 

The following is a decided improvement upon the old method 
of working the trick. Exhibit a red and a black billiard ball and 
announce that you intend to perform the trick in two different 
ways, invisibly and visibly, so that the spectators will be able to 
present the experiment if they be so minded. 

While you are talking wrap the two balls separately in a sheet 
of paper. Each sheet has a hole in the center through which the 
audience can see the ball. Two spectators are requested to assist 
in the experiment, and to place themselves on opposite sides of 
the stage or room. The man on the right holds the red ball and 
the man on the left holds the black. ''One, two, three!'' The 
papers are unfolded and the balls have changed places. The 
trick is then repeated in order that the spectators may see the 
actual transposition of the colored globes. 

We shall describe the invisible transposition first. The two 
balls are not prepared. As in the old trick the whole secret lies 
in the preparation of the papers in which the balls are wrapped. 
These papers are prepared as follows: Take a piece of strong 
white wrapping paper, ten by fifteen inches, see (A) in Fig. 68. 
With a pair of sharp scissors cut a piece (B) out of the center, 
about as large as a twenty-five cent piece. Take a piece of glazed 
red paper or silk (C), about three inches square, and of the 
same color as the red ball. Strengthen this paper by pasting it 
on a piece of linen, and fasten to one of the edges (D) the end 
of a piece of white thread (E). This thread must be very thin 

301 



The Art of Magic 

and strong, for which reason silk is preferable to cotton. A little 
above the hole (B) paste a strip of linen (H), in order to 
strengthen the paper. Pass the thread through one end (F) and 
let it come back at the other end (G) and then fasten the end to 

IP INC H 

r H G 

[. u 



I ® i 

pi [i 



c 



A 

Fig. 68 

the red paper at (J). At the other side of the paper the thread 
will form a ring whose use will be explained later. When you 
have arrived at this stage of the preparation, take a second piece 
of paper, fifteen by ten inches, and paste it to (A^ by the edges 
only. This second sheet also must have a hole corresponding with 
(B) in the prepared sheet. Prepare another sheet in the same 
manner save that a piece of black glazed paper is used instead of 
the red. 

In the actual presentation of the trick, casually show the two 
balls, knocking them together to prove their solidity, and then as 
casually exhibit the two sheets of paper, showing both sides of 
each sheet. Remark that you are going to wrap each ball in a 
sheet of paper, and in order to convince the spectators that there 
is nothing in the experiment that savors of hanky-panky, you 
have cut a hole in each paper so that the ball is alwaj^s in sight. 
Pass the wand through the holes, this diversion being accom- 
panied by appropriate patter, and hold the red and black balls 
302 



r 
u 
2 



The Art of Magic 

separately behind the holes so that the audience can see each one 
through the aperture. Wrap the red ball in the sheet that con- 
tains the black paper, and wrap the black ball in the sheet con- 
taining the red paper. While wrapping up a ball cover the hole 
with the fingers of the left hand, and with the thumb and index 
of the right hand, which holds the ball, draw quickly on the 
thread outside the sheet. This raises the sheet of colored paper 
so that it covers the hole. Wrap the ball rapidly in the paper 
and give the package to a spectator, bidding him to stand at the 
right of the stage or room. Of course, he holds the package so 
that the audience cannot see the hole. Now wrap the other ball 
in the second paper in the same way. and give to the same person 
to hold. Tf you exhibit the two packages to the audience they 
will see the red ball in the package that really holds the black 
ball, and vice versa. 

At this stage of the experiment request a second gentleman 
to assist you, and he is stationed on the left side of the stage or 
room. Take the package that really holds the red ball and give 
it to the assistant on the left, saying. herewith give you the 
black ball, while the other gentleman (pointing across the stage 
with wand) holds the red one." While talking you once more 
exhibit the packages so that the audience can apparently see 
the color of each ball. Announce that the balls will change 
places at command. ''One, two. three, pass!" Unwrap rapidly 
so that the audience cannot see the colored papers. 

You now announce that you will keep your promise by 
making the balls change places visibly, so that every one can see 
just how the trick is done. Give the red ball to the assistant on 
the right and the black ball to the one on the left, and request 
them to hold the balls between the fingers in order that every one 
can plainly see them. When placing the balls in their hands 
you whisper in their ears that at the command of ''One, two. 
three, pass!" they will oblige by changing places. Of course, 
the assistants will enter into the spirit of the hoax, and at the 
command will obligingly change places. "You see, ladies and 
gentlemen," concludes the conjurer, amid hearty laughter, "the 

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The Art of Magic 

experiment has been eminently successful. The red ball and the 
black ball have changed places before your very eyes. ' ' 

As a rule a practical joke on the part of a performer is in 
very poor taste; but the climax just described is an exception to 
the rule. It never fails to put an audience into good humor, and 
to amuse is as much the province of the prestidigitator as to 
mystify. 



304 



CHAPTER XVIII. 



MISCELLANEOUS TRICKS. 

THE FOUR PAPER BALLS AND PLATES. 

An excellent after-dinner experiment based on the prin- 
ciple of the cups and balls. The performer lays four small 
plates in a row on the table, after which he makes four pellets 
of bread or tissue paper, about the size of hazel nuts. A ball 
is placed in front of each plate. Exhibiting both hands empty, 
the performer takes a pellet between the tips of the fingers 
and the thumb of the right hand, picks up a plate with the 
same hand and turns it over, leaving the pellet beneath the 
plate. A second pellet is placed under a second plate in the 
same way. A third pellet is apparently placed under the third 
plate, but is actually retained between the finger tips, the back 
of hand, of course, being toward the audience. The right hand 
immediately picks up the fourth plate and the left hand takes 
up the remaining ball. Place plate over the fourth ball, also 
leaving the palmed ball under the plate. If neatly done, the 
spectators will believe that there is a ball under each plate. 
The exact distribution of the balls, however, is as follows: A 
ball under plate No. 4 ; a ball under plate No. 3 ; nothing under 
plate No. 2; and two balls under plate No. 1. For convenience 
of explanation let us assume that the plates are numbered 1, 2, 3 
and 4, from left to right. 

The idea is to cause all the balls to appear eventually 
under plate No. 1. In order to accomplish this, turn over plate 
No. 4 with right hand and take the ball in the left hand in 
position for the tourniquet, or ''French drop." Make the pass, 
apparently taking the ball in the right hand, and then appar- 

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The Art of Magic 

eiitly pass the ball through plate No. 1. Lift up plate No. 1 
with the right hand, immediately transfering it to the left, thus 
concealing the ball in that hand. The audience sees two balls 
on the table, one supposedly having passed through the plate. 
Repeat the operation with the ball under plate No. 3. As there 
is no ball under plate No. 2, inform the audience that you Avill 
do the trick invisibly. Prefend to remove the ball through 
the plate, calling attention to the fact that you are holding an 
invisible ball, and then apparently pass it under plate No. 1. 
lifting up this plate and plate No. 2 simultaneously. The 
clever feature of this trick is that only four pellets are used, 
which obviates the necessity of getting rid of the duplicate 
ball at the conclusion of the trick. In this respect the experi- 
ment resembles the trick of ''The Sympathetic Coins," de- 
scribed in a previous chapter.* 

THE FLYING SALT. 

A startling and puzzling sleight-of-hand trick of the after- 
dinner variety, depending upon a very simple move, which, 
however, demands a great deal of practice before the trick can 
be presented with the proper illusory effect. The performer 
shakes a small quantity of salt into his left hand and then 
pours it onto a spectator's palm. The salt is now poured back 
into the performer's left hand, from which it mysteriously dis- 
appears, to be discovered later in the right hand. 

The pouring of the salt on the spectator's palm really has 
nothing to do with the trick, but it creates what in military 
science is known as diversion. When the salt is returned to 
the performer's left hand he throws it up the right sleeve, using 
exactly the movement that is known in conjuring parlance as 
sleeving a coin. Adroitly done, the sleight is perfect, but it 
requires a great deal of practice. The moment the salt is 
sleeved the left hand is closed and extended slightly upward 
from the shoulder. The right hand, having been sho^\Ti empty, 
is dropped to the performer's side. The salt, naturally, falls in 
this hand, which is also closed and extended. "One, two, 

*See Chapter 13, page 235. 

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The Art of Magic 

three!" says the performer, and the left fingers are slowly 
opened. The salt has disappeared, and is discovered in the 
right hand. 

THE CIGARETTE PAPER TRICK. 

This is one of the oldest as well as the most mystifying 
of impromptu tricks. For some reason or other, the writers on 
magic have not considered it of sufficient importance to be 
included in their treatises; and, therefore, we shall present sev- 
eral new and subtle artifices that will be found useful in ac- 
complishing the effect. We shall first explain what we consider 
the best method of working this charming trick. 

The conjurer requests one of the spectators to lend him 
a cigarette paper and to take one himself. Explaining that 
the assistant shall imitate every movement, the conjurer tears 
the paper in half, puts the two halves together, and tears them 
in four. He rolls the small pieces into a ball, blows on it, and 
then, unrolling it, shows that the paper has been magically 
mended. The assistant follows each movement; but, of course, 
when he unrolls the pellet the pieces fall to the floor, which 
invariably causes a hearty laugh. ''You rolled the pieces in 
the wrong direction," explains the conjurer. "You should 
have rolled them east to west instead of from west to east. 
I will do the trick again so that you may see how it is done." 
He repeats the trick, apparently explaining the method, but 
in reality the audience is more mystified after the explana- 
tion than before. 

The reader is, of course, familiar with the conventional 
method of performing the trick. The conjurer has a duplicate 
cigarette paper balled and concealed between the tips of the 
first and second fingers of the right hand. The torn pieces 
are rolled into a ball, and this ball is exchanged for the dupli- 
cate. This exchange is simplicity itself. When the torn paper 
is rolled into a ball the latter is pressed against the duplicate 
ball, the two being held as one between the first finger and 
thumb. The spectators see that the hand is otherwise empty 

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The Art of Magic 

and never suspect that the pellet is really composed of two 
balls. The duplicate ball, which is on top, is now unrolled, 
and in doing so you put your fingers to your lips to moisten 
them — a perfectly natural movement — leaving the ball of torn 
paper in the mouth. This movement should be done slowly 
and naturally. As in this part of the trick the attention of 
the spectators is divided between you and the assistant, you 
may safely pocket the pieces if you prefer. In fact, you should 
work this part of the trick so as to get a good deal of fun out 
of the assistant rather than to mystify the audience. The 
mystification comes later. 

In the second part of the experiment you pretend to ex- 
plain the trick. "It is really done by exchanging the torn 
pieces for a whole piece of paper," you assure the audience. 
While saying this you palm a ball of paper between the tips 
of the first and second fingers as before. Take a sheet of cigar- 
ette paper and crumple it loosely into a sort of ball and place 
it openly in the palm. Take a second sheet of cigarette paper 
and hold it between the thumb and the first and second fingers 
so that it conceals the palmed ball. "Ladies and gentlemen," 
you begin, "you will readily understand — being rational peo- 
ple — that the torn cigarette paper is not really mended by 
any supernatural means. Being rational people, you also know 
that the trick is accomplished by sleight of hand. If you will 
give me your attention for a few moments I will expose the 
necessary sleights — which are extremely simple — so that any 
of you will be able to perform the trick after a little practice. 
As you doubtless have guessed by this time, the trick is an exam- 
ple of what is technically known as palming. You will observe 
that one ball of paper is in my palm. Of course, in perform- 
ing the trick the palm is turned away from the audience (suit- 
ing the action to the word), and all you see is the sheet of 
paper held between the fingers. I will now tear this sheet into 
four pieces (doing so) and roll them into a little ball (doing 
so). And now we reach the crucial moment, so to speak, in our 
little experiment. The ball of torn pieces must be exchanged 
308 



iTie Art of Magic 

for the whole ball in the palm. Of course, this exchange must 
be made adroitly, so that no one will observe the movement. 
And here is where the quickness of the hand deceives the eye. 
(Of course, this is not so, for the hand cannot move so rapidly 
that the eye cannot follow it, but the explanation comes in very 
appropriately at this point, and will be readily believed). 
I will illustrate how the exchange is made. (Make a sweeping 
movement of the arm, during which the ball of torn pieces is 
rolled behind the fingers and the duplicate ball rolled to the 
finger tips. The ball in the palm is not disturbed). ''During 
that movement, as you no doubt observed, the torn pieces were 
placed in the palm (indicating the palmed ball) and the whole 
ball is at the tips of the fingers. It takes some practice to 
make the movement neatly, but you can master it if you have 
the patience. Rome was not built in a day, and magicians 
cannot hope to attain perfection in an hour. After exchanging 
the balls, you unroll the one between the fingers. (Unroll the 
ball as before, gettig rid of the torn pieces in the mouth). 
There, you see, the paper is restored. It really isn't so won- 
derful when you know how. (Here the performer pretends 
to hear some one asking what is done with the pieces in the 
palm). A lady in the rear of the room wants to know what is 
done with the ball of torn paper in the palm. Quite right. I 
had forgotten all about the torn pieces. Of course, they must 
be disposed of or the trick wouldn't be very effective. There 
are various ways of disposing of the pieces. Some conjurers 
drop the ball to the floor ; others conceal it in their pocket ; while 
others swallow it. Any one of these methods is good, but I have 
one of my own that I consider more effective. I simply take 
the pieces between the finger and thumb of the left hand (doing 
so) ; I blow on the ball (doing so), and unroll it in this w^ay 
(doing so), and, you see, the pieces are magically joined to- 
gether. Now that you understand how the trick is done, please 
don't give the secret away." 

As a general rule the conjurer should be on his guard 
against explaining, or even attempting to explain, how a trick 

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The Art of Magic 

is done; for it is most unwise to give an audience even a hint 
of such things as palming or exchanging articles. But as the 
effect in this case is so bewildering, and as at the conclusion of 
the trick the spectators are no wiser than they were at the 
beginning, the rule may safely be disregarded. Performed in 
this way the cigarette paper trick is one of the most effective 
of impromptu effects. 

There are many other ways of performing this charming 
illusion, and every performer of ability has his own favorite 
method of concealing the duplicate ball. Mr. Downs, for in- 
stance, conceals the ball under his finger ring, and, after the 
exchange, gets rid of the pieces in the same place. Mr. Hilliard 
carries a box of corked-tipped cigarettes for this trick. In the 
cork tip of each cigarette is concealed a pellet that may sub- 
sequently be exchanged for the torn pieces. Before rolling this 
whole paper into a ball Mr. Hilliard burns a hole through the 
center with a lighted cigarette. Before presenting the trick he 
lights a cigarette — the ball in the cork tip does not interfere 
with smoking — and, holding the borrowed piece of cigarette 
paper between the thumb and fingers of each hand, requests 
some one to burn a hole through the paper with the lighted 
cigarette. The paper is held so that the spectator has no choice 
but to burn through the center, although the performer airily 
announces that the utmost freedom of choice is granted. The 
performer, of course, hands his own cigarette to the person 
invited to mark the paper, and in doing so the ball is abstracted 
from the cork tip and concealed between the tips of the second 
and first fingers of the right hand. The marked paper is now 
torn in pieces and magically restored, the hole in the paper 
adding largely to the effect. Another clever method of perform- 
iug the trick is to affix, with a small pellet of wax, the duplicate 
ball on the nail of the right thumb. If this method is adopted 
the trick may be performed with both palms constantly exposed 
to the audience, the ball of torn pieces eventually being stuck 
to the thumb nail. This is a particularly neat and subtle 
method. In performing the trick at close quarters, with the 
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The Art of Magic 

spectators standing around, and it is not feasible to get rid of 
the pieces by ^'servanteing" them in the mouth, a bold and 
successful method is to slap one of the spectators on the 
shoulder, exclaiming, "How's that for a trick, old fellow!" As 
the hand strikes the shoulder the pellet of torn pieces is allowed 
to drop behind the spectator's back to t^».€ floor. 

THE TORN BANK NOTE. 

This trick is an elaboration, or rather a variant, of the torn 
and restored piece of cigarette paper, and though worked on 
the same principle is even more startling in effect. The manipu- 
lation is more difficult than the cigarette paper trick, and re- 
quires patience and practice in order to make it a complete 
illusion. The effect is as follows: A banknote is borrowed, and 
the performer proceeds to tear it into a number of pieces. These 
are rolled into a ball, and after a mystic pass or two the pellet 
is unrolled and the banknote is found to have been magically 
restored. The performer offers to repeat the trick, and does so 
with even more startling effect. 

The acute reader has already guessed that two bills are 
used; and the acute reader is half right. A duplicate bill is 
used for the second demonstration, but in the first part of the 
experiment hne banknote only is used. We shall endeavor to 
explain the modus operandi as clearly as possible, although 
recognizing fully the difficulty of adequately explaining the 
first part of the trick. 

The performer has a bank note of his own — say a dollar 
bill — loosely crumpled into a ball and concealed under a fold 
of the sleeve at the left elbow. He borrows a dollar bill, select- 
ing a note that is neither too old nor too new — a bill of medium 
freshness and stiffness, and resembling as closely as possible the 
duplicate bill. The borrowed bill must not be frayed or torn 
on the edges, however, or the denouement may be a disaster. 

Having borrowed the proper banknote the performer holds 
it in the left hand, taking especial pains to show that his hands 
are otherwise empty, although he does not verbally call attention 

311 



The Art of Magic 

to this fact. The banknote must be held in the left hand 
precisely as follows : The note is held at the upper edge, the face 
of the bill toward the performer, between the first joints of the 
thumb and the first finger. If properly held the tip of the 
thumb should exactly cover the letter ''S" in the word 
' ' States, ' ' and the tip of the first finger will cover the final " E " 
in the word '^Certificate" on the back of the bill. The upper 
left hand corner of the bill will be wedged in the crotch of the 
thumb. The right hand now grasps the bill at the opposite 
upper edge, between the thumb and the first finger. In order to 
attain the exact position, the tip of the right thumb should cover 
the word "States" and "America," on the front of the bill, 
while the first joint of the first finger completely covers the word 
"Silver" on the back of the bill. If the student will follow 
these directions with a banknote in his hand, he will injilantly 
ascertain the exact position. 

The right fingers now make a quick, sweeping movement 
toward the palm of the left hand, the upper edge of the bill 
slipping between the thumb and first finger, producing a noise 
that is an exact imitation of the tearing of paper. The move- 
ment must be quickly made, and the thumb and the finger 
should press rather tightly on the bill. At first the student will 
be loath to exert sufficient pressure, fearing to tear the bill ; but 
if the upper edge of the biil is neither torn nor frayed there 
is no danger of such an accident. The paper used for banknotes 
is tough and strong. After th? right hand makes the swoop to 
the palm of the left, the right end of the bill lies naturally along 
the fleshy part of the left thumb extending toward the wrist. 
The second, third and little fingers of the left hand hold it in 
this position. Properly done the noise and appearance of the 
folded bill produce a startling illusion and the spectator who 
loaned the banknote will be willing to take his oath that his 
property will hnve to be sent to the treasury department for 
redemption. 

The performer does not pause long enough for the specta- 
tors to cogitate on the matter, however. The right hand is held 
312 



The Art of Magic 

as if containing a part of the bill — ^that is to say, the back is 
toward the audience and the tip of the thumb presses tightly 
against the bunched tips of the four fingers, imitating as closely 
as possible the action of holding a piece of the banknote. The 
right hand now apparently places the torn pieces of banknote 
on the supposed half in the left hand, and it is on the natural- 
ness of this movement that much of the illusion depends. The 
fingers of the left hand are opened, of course, so as to receive the 
torn half. The student should practice this movement in front 
of a mirror until he is able to deceive himself into the belief 
that he really places the torn half of the banknote into the left 
hand. 

At this stage of the trick the banknote is folded in two. 
The right hand does not pause after apparently placing the torn 
piece into the left, but immediately grasps the doubled bill at 
the upper right hand corner, and repeats the ''tearing" move- 
ment. This is accomplished in thf same manner as before except 
in this instance the student has but half the surface to operate 
on. Accordingly the right thumb and forefinger clip the bill at 
the lower right hand corner, and move as before toward the 
left palm, producing the tearing noise. The second and third 
fingers of the left hand immediately close on the triangularly 
folded bill, which leaves but a small portion of the banknote 
exposed in the left hand. The effect is that you have actually 
quartered the bill. As before, the right hand simulates the 
action of holding a portion of the mutilated bill, and the same 
motion of apparent^ placing the torn portion onto the pieces 
in the left hand is repeated, this time the fingers of the right 
hand coming down on the folded bill with a smart slap, the 
noise assisting materially in the illusion. The banknote is now 
bunched in a sort of ball. A portion of the ball is grasped between 
the thumb and tips of the first and second fingers of the right 
hand, and the bill is twisted back and forth, the performer 
apparently exerting much strength to tear the bunch of sup- 
posed pieces. Finally, after an extra strong tug and wrench, 
the right hand flies away from the left, the tightly pressing 

313 



The Art of Magic 

fingers and thumb producing a sound as of tearing. The sup- 
posedly torn portion in the right hand is immediately slapped 
upon the bunch held between the left thumb and first and second 
fingers, and the two supposed portions are rolled together in 
a ball. This ball, which is about the size of a marble, is now held 
in the left hand between the thumb and tips of the fingers. If 
the movements have been neatly and smartly done the audience 
will be convinced that the ball is composed of the fragments 
of a once perfect bill, and will extend their sympathy to the 
unfortunate owner, who all this time has not made up his mind 
whether to take the matter as a joke or to demand his money 
back. The denouement is the same as in the cigarette paper 
trick. The performer makes two or three mysic passes over the 
pellet, breathes on it, and unrolls it in a restored condition, 
during which operation he takes especial pains to show that 
no duplicate bill is concealed in his hands. 

The trick, however, is not finished. "Perhaps all of you 
didn't see how it was done," remarks the performer. "I will 
do it again." He repeats the trick exactly described — that is 
to say, the first three tearing movements. The banknote is now 
bunched in the fingers of the left hand. The fingers of the 
left hand, still holding the bill, grasp the right sleeve at the 
bend of the elbow and pull the sleeve up. The right hand 
does the same for the left sleeve, and at the same time obtaining 
possession of the duplicate bill, which is placed hekiiid the larger 
bunch in the left hand. Both bills are squeezed together so as 
to appear as one. The right hand grasps the duplicate bill arid 
the left hand holds the borrowed bill. The performer now 
operates on the bunched bill, working the fingers back and forth 
making it appear as if he were exerting every ounce of strength 
in his hands. In reality the two b dls are pressed tightly to- 
gether. Suddenly, with a movement as if twisting the bill in 
two, the fingers are wrenched apart, the right hand carrying 
away the duplicate biU and the left hand holding the borrowed 
bill, the rubbing of one ball against the other producing a loud 
tearing noise. The tightly bunched condition of the banknotes 
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The Art of Magic 

and their jaged edges absolutely convince the spectators that 
you have destroyed the bill. You now apparently roll the two 
bills into one, really palming the duplicate bill in the right 
hand. Hand the other bill to a spectator, request him to 
breathe on the pellet and to unroll it. During this operation 
all eyes are naturally on the spectator, which gives the performer 
ample opportunity to get rid of the duplicate bill. We have 
been somewhat prolix in describing this trick, but as it is really 
a very effective sleight of hand experiment we wished to make 
every detail clear to the reader, for upon the strict attention to 
detail depends the success of the trick. Mr. Francis Warner 
performs this trick very successfully. 

THE BILL AND LEMON TRICK. 

Another effective impromptu trick, which naturally follows 
the experiment just described. The effect is as follows: A bor- 
rowed banknote — any denomination — is marked with the initials 
of the owner and wrapped in a handkerchief. A borrowed and 
examined lemon is placed under a tumbler. The banknote is 
commanded to leave the handkerchief, and is found inside the 
lemon. 

The only property required for thic trick is an ordinary 
handkerchief, in one corner of which is sewn a tightly rolled 
piece of paper to represent a tightly folded banknote. This 
handkerchief is carried in any convenient pocket. Borrow a 
lemon, or allow a lemon of your own to be examined, and while 
the examination is going on borrow a banknote. Request the 
lender to mark the note with his initials, and while he is thus 
engaged take back the lemon, and with the thumb-nail cut 
through the skin at one end. This small slit wiU allow you to 
poke your forefinger into the lemon. Care should be exercised 
not to make the hole too large. Request the spectator to fold 
the bill in half ; to fold it again in half ; to fold this quarter in 
half; to fold this eighth in half; to fold this piece again in 
half, and roll it up, when it will resemble the size and shape 
of the paper concealed in the corner of the handkerchief. 

315 



The Art of Magic 

While holding the lemon in the left hand (the end with 
the hole toward the palm), take out the handkerchief, show it 
on both sides, and throw it over the left palm — covering both 
the hand and the lemon. 

The handkerchief should be arranged so that the right hand 
corner (the one nearest the body) is the one that conceals the 
folded piece of paper. Taking the folded and rolled banknote 
from the spectator, the performer apparently places it in the 
center of the handkerchief, in reality, however, folding in the 
corner of the handkerchief containing the piece of paper. While 
the right hand is under the handkerchief, the borrowed banknote 
is pushed well into the lemon. In actual practice these two 
separate movements blend into one and occupy but a fraction 
of a second. The handkerchief is immediately handed to some 
one to hold, and as the spectator grasps what he thinks is the 
borrowed banknote, no suspicion is aroused. No one will ever 
dream that the lemon has been tampered with. Indeed, nine 
hundred and ninety-nine persons in a thousand would make an 
affidavit to the effect that the lemon was never out of their 
sight for an instant. The lemon is now placed on the table and 
covered with a tumbler. The performer takes hold of one 
corner of the handkerchief, requesting the spectator to drop the 
banknote at the word ''three." ''One, two three!" The bill 
disappears; the performer divides the lemon in half, and, 
separating the two halves, the banknote is discovered sticking 
in the upper half. This half is handed to a spectator, who 
removes and identifies the banknote. For obvious reasons the 
other half of the lemon is not handed for examination. It is 
either pocketed, thrown on the table, or, if the trick is being 
worked in a saloon or cafe, carelessly tossed into a cuspidor. 
As a matter of fact — which the reader will soon prove to his own 
satisfaction — no one ever thinks of examining the second half of 
the fruit. 

There is another method of doing the trick which, while 
just as effective, is not quite so clean in workmanship. In this 
method two lemons are employed. One has a slit in the side, 
316 



The Art o£ Magic 

near the center. This lemon is in the right coat pocket at 
the beginning of trick. An unprepared lemon is shown and then 
placed in the same pocket. A bill is borrowed and apparently 
wrapped in handkerchief, as described in first method. Hand 
the handkerchief to some one to hold, and take the feked lemon 
out of the pocket, at the same time inserting the bill. Lay the 
lemon on he table — slit side away from audience — and vanish 
the bill. Cut the lemon, beginning on side opposite slit and 
finishing with knife in slit. Allow spectator to remove top half 
and take out bill. The only advantage — if such it may be 
called — that this method has over the first one, is that both 
halves of the lemon may be examined. 

THE RING ON THE WAND. 

A very old and very well known conjuring trick consists 
of magically passing a borrowed ring onto the center of a wand 
or stick, both ends of which are held by a spectator. We 
shall not insult the intelligence of the reader by explaining the 
modus operandi, but shall describe an entirely new method of 
accomplishing the same effect, which is one of the ingenious 
specialties of Mr. Elbert Adams. This is the first time, we 
believe, that this method has been explained in print. 

The effect is as follows: The performer borrows a ring, 
selecting one that is as distinctive in design as possible, so that 
there shall be no suspicion of a duplicate ring being used. 
Holding the ring in the left hand the performer requests a 
spectator to hold the wand at both ends. The ri^g in the left 
hand is now passed — ^visibly — onto the center of the wand. 

The salient feature of this method is that the borrowed 
ring is not wrapped in a handkerchief, nor does it leave the per* 
former's hand for an instant. This statement is true in a double 
sense. Two rings are really employed, and the means by which 
the exchange is made is decidedly ingenious. The performer 
holds the wand in the right hand, near the lower end. On this 
end of the wand, held in place by the curled third and fourth 
fingers, is the duplicate ring — an ordinary gold band ring, or 

317 



The Art of Magic 

a brass one if the performer is desirous of practicing economy. 
The borrowed ring is received in the left hand. The conjurer 
looks at it critically. ''I guess it's big enough to go on the 
wand," he says, and, naturally enough, drops it over the top 
of the wand. The ring slides down the wand and -falls off 
the lower end into the left hand. At least this is the way it 
appears to the audience. In reality the borrowed ring is re- 
tained by the curled first and second fingers of the right hand 
which open slightly to receive it. At the same instant the pres- 
sure of the third and fourth fingers relaxes, permitting the 
duplicate ring to fall into the left hand, which is held below 
the wand for this purpose. The release of the duplicate ring 
must be exactly timed, and there must be no bungling or 
hesitation. Neatly done the keenest observer cannot detect the 
substitution, but if there be so much as an instant's hesitation 
the performer may as well pass on to some other experiment. 
Consequently, this manouver should be thoroughly practiced 
before the trick is presented to the public. 

The conclusion of the trick needs no detailed explanation. 
The performer holds the substitute ring in his left hand, in such 
a manner that only a small portion of the band is visible. If 
the substitute closely resembles the borrowed ring, then the 
entire ring may be exhibited at the finger tips, but if the bor- 
rowed ring is of peculiar design, or if set with a stone, it should 
be held so that a small part only of the metal is visible. The 
wand, with the borrowed ring on one end, is in the right hand. 
Eequest a spectator to hold one end of the stick. When he 
takes hold of it move the borrowed ring to the center — of course 
under cover of the right hand — and request him to hold the 
other end. Show the ring in the left hand and count "one, two. 
three." At the word ''three' make a throwing movement with 
the left hand, palming the substitute ring, and at the same 
instant removing the right hand from the wand with a jerk, 
which causes he borrowed ring to spin on the stick. Cleverly 
performed the illusion is all that can be desired by the most 
exacting artist in sleight of hand. 
318 



The Art of Magic 

THE MYSTERIOUS MATCH. 

This IS niMcely an interlude, but may be introduced to good 
effect in any imck which requires the use of matches — say, the 
flag in the cam fie. In effect a match is lighted and held at 
the tips of the fingers of the right hand, which is extended from 
the body as far as possible. The performer bends the left arm 
and blows smartly down the left sleeve, and at the same instant 
the flame of the match is extinguished. The right hand does 
not move nor is there any visible manipulation of the fingers. 

The lighted match is held between the first and second 
fingers, near the tips, the back of hand to audience, the match 
extending at right angles from the fingers. A small portion of 
the end of the match — say a quarter of an inch — extends from 
the inside of the fingers. To extinguish the flame the right 
thumb smartly snaps this end. A few trials will give the reader 
a better idea of the exact position of the match than a page of 
print. Apropos of matches we may explain a device invented by 
L 'Homme Masque for lighting magically a candle or cigarette. 
It consists of a miniature socket soldered to a finger ring. This 
socket is just large enough to accommodate a small piece of 
wax match. The method of working the apparatus is obvious. 

THE INEXHAUSTIBLE HAT. 

Tricks with hats are favorites both with magicians and 
their audiences; and undoubtedly the use of the hat as a store- 
house of surprises will never go out of fashion among the con- 
juring fraternity. We have omitted hat tricks from this volume 
for two reasons, viz., lack of space and because the subject has 
been exhaustively treated in the standard works on conjuring. 
We depart from our purpose in this item, however, in order to 
add a decided novelty to the old. old trick known as ^the 
Inexhaustible Hat." The ingenuity of various performers has 
greatly increased the number and variety of articles produced 
from the "dicer" or the ''stovepipe." The modern magician 
is not content to produce playing cards, ribbons, handkerchiefs 
and such small articles as celluloid goblets, folding lanterns 

319 



The Art of Magic 

and spring flowers, but he must produce real lanterns of brass 
and glass, alarm clocks by the dozen, kitchen utensils, and last 
but not least, inflated balloons. This production is unquestion- 
ably the most brilliant of all hat tricks. Howard Thurston in- 
troduced the trick into his counry, inflating the balloons with a 
gas that carried the globes to the dome of the theater. The 
method used by Mr. Thurston was ingenious and scientific, but 
the apparatus was decidedly cumbersome and impractical for 
any anything but stage work. The interior arrangement of the 
hat was mechanically intricate, and the balloons were inflated 
by gas drawn from a tank in the wings. The gas was forced 
through a tube under the stage, to which the performer made 
connection by means of a heel plate. A rubber tube passed up 
the performer's trousers, thence up his back and down his 
sleeve, and was connected at will with the inflating apparatus 
inside the hat. 

The balloon trick immediately ''caught on," as the saying 
is; and the ingenuity of American performers simplified the 
modus operandi, so that now the pretty trick can be presented in 
the drawing-room as easily as on the stage. The simplest, safest 
and best of the many methods of inflating the balloons is as fol- 
lows: Take a small glass medicine vial, about two inches long 
and three-quarters of an inch in diameter. Fill this flask with 
a solution of tartaric acid and cork it with a rubber stopper. 
Place a small quantity of bicarbonate of soda inside the balloon, 
and in its mouth insert the small flask half ways, tying a string 
around the balloon to hold the bottle firmly in place. A half 
dozen balloons arranged in this way are loaded into a hat — 
preferably an opera hat — and to produce them it is necessary 
only to pull out the rubber stopper, leaving the cork inside the 
balloon. The tartaric acid mixing with the soda produces a 
gas which inflates the balloon. Instead of tartaric acid the small 
bottle may be filled with commercial sulphuric acid, but the 
conjurer must use extreme caution in handling this chemical or 
damaged clothes or severely burned hands will be the result. 
The exact amount of chemicals used in this trick must be de- 
320 



The Art of Magic 

terniined by experiment, for their strength often varies. 

Appropos of the "Inexhaustible Hat" we may mention a 
novel feature . from the programme of the late Harry Stork. 
This is the production of piping hot fried oysters from a bor- 
rowed hat. The secret is simple. The oysters — each impaled on 
a toothpick — are enclosed in a rubber bag which retains the heat 
for about an hour. If a longer time must elapse before produc- 
ing them the oysters may be kept warm on a hot tin back of the 
scenes until the performer is ready for them. 

, , THE MYSTERIOUS KNOT. 

The effect of this sleight is as follows: The performer lays 
a silk handkerchief across the palm of his hand. He tosses the 
silk into the air and lo! a knot mysteriously forms itself near 
the center. 

So much for the effect. The secret is sleight of hand pure 
and sim_ple. The handkerchief is twisted ropewise and the mid- 
dle laid across the outstretched fingers of the right hand (palm 
up), the two ends hanging down equidistantly on each side of the 
hand. The handkerchief is held in this manner for a moment in 
order to impress upon the audience the fact that the silk is free 
from preparation, although nothing is said to this effect. Now 
for the knot. Close the fingers over the handkerchief, at the same 
time turning the hand over. The hand should be turned over 
with a generous sweep of the arm so that the force of the move- 
ment will cause the right tip of the handkerchief to fly up and 
fall over the top of the hand. The handkerchief should fall 
across the knuckles, when it will be found that by slightly re- 
volving the hand to the right the tip may be clipped between the 
second and third fingers. Clutch this end of the handkerchief 
and with a smart downward movement of the arm allow the 
handkerchief to drop off the hand, which forms a single loose 
knot. Snap the handkerchief by the end clipped between the 
second and third fingers, and the knot is tightened. The instant 
this is done the handkerchief is tossed into the air. In actual 
performance the various movements melt into one. Deftly 

321 



The Art of Magic 

done all that the spectators see is that the performer tosses the 
handkerchief into the air and that a knot mysteriously appears 
near the center. In order to achieve this charming effect, how- 
ever, a good deal of practice is necessary, for the movements 
must be deliberate rather than hurried; and there must not be 
any hesitation between the downward movement of the hand, 
when the knot is tied, and the upward movement by which the 
handkerchief is flung into the air. A slight turn of the body 
toward the right will materially assist in concealing the move- 
ments of the right hand. 

THE VANISHING KNOT. 

This is a specialty of Harry Houdini. In effect a knot, 
tied in a handkerchief, mysteriously vanishes at the command 
of the performer. 

Hold an end of the handkerchief between the thumb and 
first finger of each hand, about three inches from the tip — 
the natural position for tying an ordinary knot. Now lay the 
right end across the left, and tie the two ends together — ^that 
is to say. you apparenly do so. This is what you really do: 
When the two ends are crossed, the right over the left, the two 
ends are clipped, at the point of intersection, between the tip 
of the right thumb and the first finger. A sweeping movement 
the right end back and down, when it is grasped by the tips 
of the left first and second fingers and brought up in front. 
The movement is simply the reverse of actually tying the right 
end around the left. The student should first tie a genuine 
knot, closely noting the movements of the hands and fingers, 
and these movements should be faithfully imitated in tying the 
feke knot. Deftly done the keenest eye cannot detect that the 
right end of the handkerchief is doubled behind the left end 
instead of going around in front. Holding the handkerchief 
tightly at the point where the ends are apparently tied, the 
performer requests one of the spectators to tie the second part of 
the knot, telling him to pull the ends as tight as possible. Cover 
the knot with the loose part of the handkerchief, and hand it 
322 



The Art of Magic 

to some one to hold. Grasp one end of the handkerchief, re- 
quest the spectator to breathe on the knots, and at the word 
''three" to release his hold. , He does so, the performer whips 
the handkerchief into the air, and the knot has disappeared. 

THE MYSTIC TIE. 

This is a favorite feat of the street fakir and the itinerant 
conjurer who charms at the county fair or harangues the crowds 
that flock in front of the medicine tent. Cleverly performed it 
is a very mystifying trick, and, although the principle — ^the 
feke loop used in ''My Grandmother's Necklace" — is as old as 
the hills, the trick is puzzling even to many who are initiated 
in the mysteries of magic. 

Two pieces of cord are passed for examination and when 
returned are placed around the performer's neck and the ends 
tied together with three or four solid knots. The performer in- 
stantly releases himself without untying the knots. 

The cords, which are about five feet in length, may be of- 
fered for examination. When returned the performer shows 
them separately, one in each hand. They are then laid side 
by side across the second finger of the right hand, the four ends 
being allowed to hang down. As the right hand is moved toward 
the neck, the first finger separates the cords so that one is loop- 
ed over the other as in the old trick of the tapes and balls, 
known to the profession as "My Grandmother's Necklace." 
This "twist," as it may be called, is made while the arm is in 
motion, the larger movement concealing the shorter one. At 
the conclusion of the "twist" the cords are held at the junc- 
ture between the first finger and thumb. In encircling the neck 
with the cords the loop, or point of juncture, is slipped under 
the collar of the vest. Now tie the ends of the cords into three 
or four knots. Put the hands to where cords are knotted and with 
the right hand grasp the upper cords, while the left hand 
seizes the lower ones. A slight tug on the cord and the neck is 
released, while a solid loop, composed of the doubled cord, 
remains in the hands. It is this last elfect that makes the trick 
mysterious. 

323 



The Art of Magic 

Here is another method of doing the trick. Use about five 
feet of cotton sash cord, one-quarter of an inch thick, and really 
pass the cord around the neck. Tie five or six knots close to 
the neck and request a spectator to tie the two ends to a chair or 
post. The ends of the rope may be sealed if desired. A screen 
is placed before the performer, who in a few seconds releases 
himself without disturbing the knots either at the neck or where 
the ends are tied to the chair. 

The secret is absurdly simple. It is impossible to tie a hard 
knot in cotton sash cord. Consequently the performer merely 
has to slip the knots along the cord toward the chair, for which 
reason there should be sufficient slack between the knots at the 
neck and the knots on the chair. The manipulation will not 
consume a minute. As soon as the loop about the neck is 
enlarged sufficiently, the head is slipped out and the knots 
worked back to their former position. 

The effect of this trick will be enhanced if, after the neck 
is tied to a chair or post, the performer allows his hands to be 
secured behind his back either with tape or rope. If the reader 
is adept at opening handcuffs he could make the trick more 
mystifying by allowing his ^^T:*ists to be manacled behind his 
back. 

THE JACOBY ROPE TIE. 

This is the king of all rope ties, and the most mysterious 
release ever invented. The secret has been well kept, and this 
is the first time, so far as we know, that the trick has been pre- 
sented in a book. The author is eertam that if this volume 
contained nothing else of value the reader would feel that he 
had received full value for his money in the following expla- 
nation. 

The performer takes two strong cords or tapes (tapes are 
preferable in a drawing-room performance), each about two 
yards long. He places the middle of one cord on the extended 
wrist of the right hand, so that the ends hang down. The cord 
is now tied around the wrist by a committee from the audience, 
3 24 



The Art of Magic 

the knot coming on tlie inside of the wrist. As many knots may 
be tied as the committee desire, and the knots may be sewed 
or sealed with wax. The other wrist is then tied in the same 
manner. The performer now places the left hand, as far as he 
can reach, under his right armpit; then places the right arm 
over the left elbow, extending the right hand under the left 
armpit. The cords hanging down from each wrist are brought 
together at the performer's back and tied into a secure knot, 
which may also be sealed. The performer seats himself on a 
chair (preferably a Vienna bentwood chair, or one with a 
straight rail at the top), and the double tapes are tied to the 
top rail of the chair near the post on the right side. The ends 
are either seated to a card or tied to a bunch of keys. The 
method of tying the performer bears a slight resemblance to a 
straight jacket, and the performer may enhance the effect by 
calling attention to this fact, and also to the utter impossibility 
of his moving any portion of the arms or hands. The rest of 
the body is now tied to the chair — that is to say, the waist and 
the feet are securely fastened. These last ties have no signifi- 
cance whatever, as the performer desires the use of his arms 
only. A screen is now placed around the performer (Jacoby 
was carried into a cabinet), or he can be left on one side of a 
double parlor closed from view by a portierre. As soon as this 
is done, the performer leans back a little, sitting as far toward 
the front of the chair as possible. He now pushes the left hand 
as far as he can under the right armpit. This allows the right 
arm a little play, and with the right thumb he seizes the double 
cord extending from the right wrist and lifts it over his elbow 
and head. He now sits around a little toward the right and 
claps his hands together several times. Then he quickly seizes 
the double cord with the right thumb and lifts it back again 
over his head and arm, assuming his former position. The 
committee may now examine everything. A borrowed watch 
or ring (a watch has a better effect) is now laid upon the per- 
former's right knee, and the cabinet is again closed, or the 
portierre drawn, as the case may be. The performer now brings 

325 



The Art of Magic 

his right arm over as before and sits around to the right. He 
pushes the ring, or the ring of the watch, over the loop formed 
by the double cord hanging between the right wrist and the rail 
of the chair, and seizing the loop by the right hand pushes it 
(without twisting it) under the tie around the left wrist from 
the rear out (that is, from the cuff toward the fingers) ; and he 
then pulls the loop over the tips of the fingers. Drawing it 
entirely over the left hand, thence passing it under the tie on 
wrist (upper part) and pulls it back over the left hand again. 
Then he brings the double cord hanging from the right wrist 
to the front again, passing it over the head and left elbow, thus 
assuming the exact position in which he was tied. If the direc- 
tions have been carefully followed the ring or watch will be 
tied in a knot at the back of the chair. The committee now 
make an examination, and the members are requested to remove 
the ring, a task they will soon give up. To remove the ring 
from the cords, a reverse process is employed. The directions 
may seem complicated at first reading; but if each move is fol- 
lowed with the materials in hand (an assistant doing the tying 
and reading the description), the knack of the Jacoby rope tie 
will soon be acquired. 

The Jacoby rope tie may be used for almost all the so- 
called spiritualistic tests, such as "spirit" writing on slates, 
cutting out paper patterns, driving nails into a board, playing 
musical instruments, ringintr bells, thumping a tambourine. 
Jacoby 's final test was to invite one of the audience to sit in the 
cabinet with him. The spectator was blindfolded, and when the 
curtains were thrust aside again the spectator's vest was dis- 
covered turned inside out.- 

We earnestly advise the amateur magician or drawing-room 
performer to present the Jacoby rope tie as a genuine feat of 
ma^ic rather than a spiritualistic test. The performer should 
have a duplicate set of tapes concealed on his person. Before 
being tied the performer may force a card, which is shuffled 
into the pack. After the performer is tied the pack is laid on 
the right knee, and the watch or ring laid on top of the pack. 
326 



The Art of Magic 

When the curtain is drawn the performer releases his arms, 
finds the drawn card, which he places between his teeth, allow- 
ing pack to fall to the floor, and manipulates the ring or watch 
onto the tapes as already described. 

THE EOPE TIE PAR EXCELLENCE. 

This rope tie we believe to be the strongest and best in 
the business, and like all other good tricks the modus operandi 
is simplicity itself. We are indebted to Mr. W. G. Edwards 
for this particular method of working the trick. The per- 
former hands for examination a fifty-foot line, preferably a 
new clothes line, and offers himself to be bound up in any 
manner the audience sees fit, stipulating, however, that they 
commence at one end of the rope and finish at the other. This 
is one of the chief points of the trick, for we believe it is 
almost impossible for any person to tie you tight with this 
amount of line. While the committee from the audience are 
tying you slightly contract the muscles. Do this in such a 
manner that it will not be noticed by your audience, but rather 
contract the muscles of that part of the body that the rope is 
being fastened to. By the expansion of the lungs, and stiffen- 
ing of the limbs the rope can be kept apparently tight. Stand 
as stiff as possible, place the hands or arms wherever required, 
allow them to be tied together at the sides, behind the back, 
or in front. They have to use one end of the rope, and thread- 
ing it through each knot, loop, etc., will soon tire them and 
they will commence the winding of the rope around the body. 

As soon as the rope is all wound and tied around you, 
request that you be carried to your cabinet, or behind a 
screen. Now comes the work of releasing yourself, which, 
after two or three attempts, you will be able to accomplish in 
the incredulously short time of two minutes. To commence 
with, draw in the breath, and shrink the body as much as 
possible. This allow^s you to see any slack loops, or looseness in 
the coils, etc. Nine cases out of ten you can release your 
hands first. No matter if you cannot, shake the loose coils 

327 



The Art of Magic 

around on your body, and begin to work them loose. Free 
the hands as soon as possible, or one hand. If the rope is 
around your neck release yourself here, and remove your 
coat (never be tied without it). This move practically places 
you in a position to remove the balance of the rope that is 
attached to your body, legs, etc. Mr. Edwards takes only a 
few seconds to release himself, and rarely has to untie a knot. 
As before stated, the secret is this, it is impossible for any 
person to tie you in a standing position with fifty feet of any 
kind of rope so tight that you cannot "wriggle" out of it. 

You should experience no difficulty in quickly releasing 
yourself on the first attempt, but for those who follow the 
strenuous side of the magical business and have a liking for 
this class of work, this release will be an easy matter and ac- 
complished in a short time. 

A good plan to work in connection with this "tie" is to 
force one of the hands to be tied first. This is accomplished 
by having a common slip knot in one end of the rope. Pre- 
sent the wrist to be tied first, then if bothered at all in trying 
to release yourself, get possession of a small sharp knife from 
your person, and cut the rope at the slip knot, and so have one 
free hand to work with. As soon as the rope is off and clear 
make a duplicate knot in the end of the rope and conceal 
the small piece of rope you have cut from the wrist about 
your clothing. 

ESCAPE FROM A PAPER CYLINDER. 

This particular method is, we believe, the invention of 
Mr. W. Russell, an exceeedingly clever magician, who has 
given one or two "good things" to the profession since inter- 
ested in magic. 

The performer brings forward, and has examined, a large 
paper cylinder open at both ends, also half a dozen shoe 
strings, and a stick of sealing wax. The cylinder, which is 
made of stout wrapping paper, is then marked in any manner 
the audience see fit, and the performer is assisted into it and 
328 



The Art of Magic 

both ends tied with the shoe strings and the knots sealed. 

The performer in his paper prison is then carried into 
his cabinet or behind a screen, and in a few minutes appears 
carrying the paper cylinder which is again examined without 
his means of exit being discovered. 

To effect the escape the performer has concealed in his 
clothing a pocket knife with one of the blades ground down 
as thin as possible, also a razor like edge. As soon as he is in 
his cabinet he gets possession of this knife and placing one of 
the mouths of the cylinder flat upon the floor feels for the 
strings and makes a clean cut about three-quarters of an inch 
long in the paper and also through one of the strings. This 
enables him to pull the other portion of the strings to the 
opening thus formed and sever them, allowing him to make 
his escape. He now quickly folds up the mouth of the cylin- 
der in exactly the same shape as at first, and ties it with dupli- 
cate strings in the same manner as the committee from the 
audience did. He now procures from his pocket small bottle 
of alcohol and a cork with a piece of lamp wick threaded 
through it. The cork is removed from the bottle and the cork 
with wick inserted and lighted. A similar piece of sealing 
wax is now brought into play and the knots sealed as before, 
the complete operation lasting only a few minutes. Care must 
be taken to cover the cut in the paper with one of the folds, 
or better still, seal at this place. 

THE GIANT MEMORY. 

This feat depends upon a novel adaptation of the mnemonic 
system and has an excellent effect upon an audience blessed with 
more than the average intelligence. The performer hands a 
die to a spectator and reqijests that he throw it. We shall suppose 
for the sake of illustration that he throws 3. ''Remember 
the number you threw," says the performer, who then hands 
the die to a second person, who, let us say, throws 4. A third 
person throws 6. When eight or ten or even fifteen persons 
have thrown the die the performer tells each one his number. 

329 



The Art of Magic 

In order to accomplish this effect the student has recourse 
to an ingenious system of mnemotechny. He imagines that all 
the persons throwing the number 1 wear silk hats; those throw- 
ing 2 wear a derby hat; those throwing 3 wear a straw hat; 
those throwing 4 wear a cap ; those throwing 5 wear a full dress 
suit; and those throwing 6 a bathrobe. Of course any other 
series of pictures will accomplish the object as well as those 
enumerated, and the reader may easily arrange his own mnem- 
onic code. 

In taking the die out of the thrower's hand the performer 
looks fixedly in his face and fancies him with the hat or gar- 
ment the number requires. When that same person, later on, 
asks the performer to name his number, the performer will re- 
member the number by its association with the mental picture. 

THE TRANCE VISION (First Method.) 

The performer distributes several blank cards and an equal 
number of envelopes with them. Each person is requested to 
write a question on the card, seal it in an envelope and hand 
it to the performer. The latter turns around for an instant an(1 
then hands the envelope back unbroken and in no way tam- 
pered with, and at the same time correctly answers the ques- 
tion written on the card. He repeats this with the other en- 
velopes. 

We are indebted to Mr. Henry Hardin for the secret of 
this ingenious trick. The performer has in his pocket a small 
electric light — the kind known as tfie pocket flashlight. In the 
act of turning around, or, preferably, in returning to his table, 
he takes the lamp out and, holding the envelope flat before him, 
presses the lens of the flashlight against the under side of the 
envelope. By pressing on the stud, which turns on the light, he 
is enabled to read the contents. 

This trick is susceptible to development, and by means oi 
the electric flashlight, the conjurer may treat his friends to a 
novel and mystifying effect which, in the parlance of the spirit 
ualjstic profession, is known as a ''dark seance." In this form 
330 



The Art of Magic 

of entertainment each member of the audience writes a question 
on a small white card, addressing the missive to a spirit friend, 
and signing his or her own name. Each card is then sealed in an 
envelope, and sealing Avax may be used as an extra precaution. 
The envelopes are collected on a tray and deposited on. the 
conjurer's lap. The lights are put out, and the spectators sit 
in a circle holding one another's hands. The conjurer reads 
each question and answers it to the best of his ability. 

The effect is little short of stunning, but the secret is sim- 
ple. The small electric flashlight is employed. The conjurer 
has a large hood or sack made of rubber cloth, or of any material 
impervious to light. This hood must be long enough to cover 
the upper portion of the person, including the head and hands. 
This sack, of course, is secreted in the pocket of the performer, 
or somewhere on his person. After the envelopes are collected 
and the lights extinguished the performer takes out the sack 
and places it over his head and the upper part of the body. 
Under cover of the hood the flashlight enables the conjurer to 
read the questions with perfect ease, and the effect of the 
answers depends upon the performer's ability and imagination. 
This is considered a very flne piece of spiritualistic work, and 
there is no reason why it should not be added to the repertoire 
of the parlor conjurer. 

THE TRANCE VISION (Second Method.) 

In this description the author takes pleasure in presenting 
Yank Hoe's original method of reading sealed questions. Twelve 
envelopes and the same number of cards are passed around, 
and twelve spectators write on the cards and seal them in enve- 
lopes. These are collected on a plate or small Japanese tray. 
Under this plate is an envelope containing a blank card, and in 
Returning to the stage or to the table, this feke envelope is addeti*. 
to the stack, while one of the genuine envelopes is palmed. The 
performer hands plate and envelopes to his assistant and retires 
to rear of stage or drawing-room, and, picking up a handker- 
chief, wipes his hands. During this short trip, however, he has 

331 



The Art of Magic 

in left hand and the envelope is disposed of in some convenient 
deftly removed the card from its envelope. The card is palmed 
pocket, or is laid on a table in the act of replacing the handker- 
chief. Advancing toward the audience the performer takes an 
envelope from the tray held by assistant, places the billet to 
his forehead and apparently reads the contents. In reality, 
however, he reads the card in his palm. When the spectator 
who wrote the question acknowledges the authorship, the per- 
former tears open the envelope, takes out the card, exchanges it 
for the one in his palm (the one just read) and hands the latter 
to the spectator. The other envelopes are read in the same man- 
ner. The last envelope, of course, contains the blank card, and 
this is simply exchanged for the written one. 

This is by all odds the most perfect method of reading 
sealed envelopes, and obviates the necessity of having a con- 
federate in the audience to write a pre-arranged sentence on one 
of the cards. So far as we are aware this is the first time that 
the explanation has appeared in print. We have explained the 
trick exactly as it was presented by the celebrated Yank Hoe 
and Omeni, his wife, when they were in the United States, in 
1891. The drawing-room performer, however, will be able to 
present the trick without the services of an assistant. » 

Students desiring of making a study of this branch of 
magic art should procure Mr. David Abbott's book "Behind the 
Scenes with the Mediums." 

THE QUICK OR THE DEAD. 

Another mystifying and subtle experiment in mental 
magic. The performer hands five slips of paper to the specta- 
tors, requesting four persons to write the names of living celeb- 
rities and one person to write the name of a dead person. Each 
person folds his paper into a billet and all are mixed together on 
the table. The performer selects the paper on which the name 
of the dead person is written, and. holding the billet to his 
forehead, reads the name. 
332 



The Art of Magic 

We shall first explain how the performer is enabled to 
select the slip bearing the dead name. Take a sheet of paper 
six inches by four and tear off from one end a strip about an 
inch in width. This strip, of course, will have a more or less 
jagged edge. The top edge, however, will be smooth. Hand 
this strip to a spectator and request him to write the name of a 
dead person. Now tear off another strip about an inch wide. 
Both edges of this strip will be jagged. Tear off three more 
strips of the same width, and throw aivay the remaining part 
of the sheet. These four strips will have jagged edges, and it is 
on these that the names of the living celebrities are written. 
The papers are now folded into billet shape and mixed together 
on the table. Owing to the fact that one edge of the billet 
containing the dead name is jagged and the other edge smooth, 
the performer has no difficulty in distinguishing it from the 
billets on which the names of the live persons are written, for 
both edges of the latter are jagged or uneven. The reading of 
the name will present no difficulty. A pad containing impres- 
sion paper may be used. A more subtle method is to use an en- 
velope containing a letter. A small piece of impression paper 
is affixed inside the envelope and the missive is used as a pad 
for the coanvenience of the spectator. Other envelopes — of 
course unprepared — are handed to the other spectators. All the 
performer has to do in order to get a knowledge of the name 
is to turn his back and slip out the letter, on which the name 
is transferred. This is an excellent impromptu experiment. 

In conclusion we can do no better service to the amateur 
than to epitomize the advice and counsel of the best magicians 
in the following DON'TS: 

Don 't address your audience too often as ' ' ladies and gentle- 
men;" take it for granted that they are. 

Don't try to be funny unless you are naturally. 

Don't perpetrate "puns" or "wheezes." They are the 
lowest form of wit. 

Don't verbally draw attention to the fact that your hands 
are empty. Give your audience credit for some intelligence. 

333 



■ The Art of Magic 

Don't (if you are a professional) tell the manager how 
you "packed 'em in" at Squeedunk. He wants to know what 
you can do in his house. 

Don 't tell every one you meet that you are the inventor of 
the back hand palm — because you are not. 

Don't cumber your programme with such expressions as 
"Marvelous Digital Dexterity" or "Magic, Mirth and Mystery." 
They have been used before. 

Don't programme yourself as "Professor." You are an 
entertainer, not a pedagogue. 

Don 't speak of your work as a " swindle. ' ' Magic is an Art. 

Don 't think that because you are a magician you don 't have 
to know anything else. 

Don't prate too much of palming, and 

DON'T EXPOSE! 

L 'ENVOI. 

The pleasant task is ended. The pen is laid aside not with- 
out a sigh of regret for the subject is as interesting as it is 
inexhaustible; and if the reader derives as much pleasure and 
satisfaction from a perusal of these pages as the author and 
editor has experienced in writing them, then the labor has not 
all been in vain. And we hope that the book will prove profitable 
as well as entertaining, and that at some future day we may 
renew our acquaintance with the reader in a further exploita- 
tion of "THE ART OF MAGIC." 

THE END. 



334 



INDEX 



CHAPTER I. 

FLOUKISHES AND FANCY SLEIGHTS WITH CARDS. 



The Caa-d Fan 9 

Card Balancing 12 

To Tear a Pack of Cards 14 

The Fan and Euffle 15 

The Downs Fan , . 16 

Springing the Cards 18 

Second Method 19 

Third Method 21 

The One-Hand Drop 21 

Second Method 22 

The Cards on the Arm 23 

A Series of Fancy Flourishes 24 

Th-e Flower of Cards 25 

Throwing Cards 26 

Cards from the Mouth 27 



CHAPTER IL 

CAKD TKIGKS WITH UNPEEPARED CARDS AND NOT 
REQUIRING SLEIGHT 
OF HAND. 



Novel Card Discovery 29 

Second Method 31 

Third Method . 31 

Fourth Method 31 

New Methods of Concluding Card Tricks 32 

Second Method 32 

Third Method 32 

The Reversed Card 35 

The Piano Trick 36 

The Transposed Cards • • • • 38 



337 



INDEX 



CHAPTER III. 

CARD TRICKS INVOLVING SLEIGHT OF HAND. 

The transposed pack 41 

Second Method 44 

Everywhere and Nowhere 44 

Everywhere and Nowhere; new method 52 

The Genera] Card; T. Nelson Downs' method 59 

The Flying Card 64 

CHAPTER IV. 

SLEIGHT OF HAND WITH CARDS (Continued). 

The Princess Card Trick 67 

Second Method 69 

The Prince's Card Trick 71 

The Twenty Card Trick 71 

A Comedy of Errors 74 

The Siamese Aces 76 

The Card in the Pocket 78 

Houdini's Torn Card Trick 81 

Barrington's Torn Card Trick 82 

A Card Discovered by Sense of Touch 84 

The Flying Cards 85 

Second Method 93 

CHAPTER V. 

SLEIGHT OF HAND WITH CARDS (Continued). 

The Cards up the Sleeve 97 

Second Method 100 

The Dissolved Card 109 

The Mysterious Card Ill 

The Card and Hat 112 

The Stabbed Card 113 

The Great Poker Trick 113 

Another Poker Trick 115 

The Disappearing Queen 

338 



INDEX 



CHAPTER VI. 

CARD TRICKS BASED ON A NEW AND ORIGINAL SYSTEM OF 
LOCATING A CHOSEN CARD. 

New Card Through the Handkerchief 120 

The Card in the Watch 224 

Second Method 225 

Chosen Card Appears in Any Part of the Deck 128 

Second Method 134 

Third Method ' I35 

Fourth Method I37 

Fifth Method 138 

Sixth Method I39 

CHAPTER Vn. 

CLAIRVOYANCE WITH CARDS. 

The Ubiquitous Cards 141 

Second Method 146 

First Method 149 

Second Method 150 

Third Method 150 

CHAPTER VIH, 

A SERIES OF CARD TRICKS BASED ON A NEW AND ORIGINAL 

SYSTEM. 

The Irregularities of Scroll Designed Cards 153 

Mind-reading with Cards 155 

Divination Extraordinary . . , 157 

The Transposed Card 158 

The Magician's Will Power 160 

Prophecy Down-to-Date 162 

CHAPTER IX. 

THE RISING CARDS. 

The Tattlings of Toto 168 

DeKolta's Rising Cards 175 

The Rising Cards in Swinging Houlette 182 

The Thurston Rising Card 186 

339 



INDEX 



First Method I97 

Second Method I99 

Third Method 200 

Fourth Method 200 

Fifth Method 202 

Sixth Method 203 

Seventh Method 205 

CHAPTER X. 

CAED TEICKS WITH APPAEATUS AND IN COMBINATION WITH 
OTHEE OBJECTS. 

Card, Orange and Candle 210 

The Card in the Frame 214 

The Valladon Cards on Glass 220 

CHAPTER XI. 

FANCY FrotJEISHES WITH" COINS, USEFUL SLEIGHTS AND 
ADDITIONS TO THE MISEE'S DEEAM. 

An Illusive Coin Pass 227 

The Hilliard Pass 228 

The Coin Eoll 230 

The Coin Through the Knee 232 

The Travelling Coin 232 

Down's Latest Method for ''The Miser's Dream" 233 

CHAPTER XII. 

COIN TEICKS WITH AND WITHOUT APPAEATUS. 

The Sympathetic Coins 235 

The Coin Through the Hat 239 

The Expansion of Texture 240 

The Bewitched Nickel 244 

The Disappearing Dollars 245 

The Free and Unlimited Coinage of Silver 246 

Coin Glass and Coin 247 

The Trained Half Dollar 249 

The New Flying Coin 251 

The Coin Through the Hat 251 

The Transmutation of Metals 251 

340 



INDEX 



Substraction of Money 253 

Every Man His Own Mint 254 

New Coin Catching 255 

A New Coin Combination 255 

The Downs Coin Wand 257 

The New Coin Wand 259 

CHAPTER XIII. 

A COIN ACT AND A COIN LADDER. 

A Coin Act and a Coin Ladder 261 

CHAPTER XIV. 

TEICKS OF THE TRADE. 

Tricks of the Trade 273 

CHAPTER XV. 

TRICKS WITH EGGS. 

To balance an Egg on a Table 279 

Egg changed into Confetti 280 

A new idea in the Vanishing of an Egg 281 

The Eggs from the Mouth 281 

The Conjuror as Chicken Fancier 282 

Japanese Egg Trick 283 

The latest Egg, Handkerchief and Glass Trick 285 

''Eggsample" 289 

CHAPTER XVI. 

TRICKS WITH BALLS. 

The Four-Ball Trick, with novel passes 291 

Passing Four Solid Balls from Hand to Hand 296 

Color Change with Four Solid Balls 299 

The Travelling Balls 300 

CHAPTER XVII. 

MISCELLANEOUS TRICKS. 

The Four Paper Balls and Plates 305 

The Flying Salt 306 



341 



INDEX 

The Cigarette Paper Trick 307 

The Torn Bank Note 311 

The Bill and Lemon Trick 315 

The King on the Wand 317 — ' 

The Mysterious Match 319 

The Inexhaustible Hat 319 

The Mysterious Knot 321 

The Vanishing Knot 322 

The Mystic Tie 323 

The Jacoby Kope Tie 324 

The Eope Tie par excellence 327 

Escape from a Paper Cylinder 328 

The Giant Memory 329 

The Trance Vision 330 

Second Method 331 

The Quick or the Dead 332 

Don'ts 333 

L 'Envoi 334 



LbJe'32 



342 



